Q and a with Ghazi Baker (690 Words 4 Min.READ)
1. Can you reflect on a childhood memory that may have driven you or infumented you to become an artist?
I’m always been drawn to the act of mark-making-Even as a child, I was constantly sketching, inventing creacters, creating Little International Worlds. One Vivid Memory is of Drawing for Hours Under the Dining Table, of Course This Was During One of the Many Wars Inflicated on Lebanon, Turning the Floor INTO A Kind of Private MURAL Space. I wasn’t trying to imPress anyone – it was a need, not a performance. That quiet obsession with links and the way they could shape Space or Narrative – I Think that Never Really Left Me. IT JUST EVOLVED. Looking back, it’s creati.
2. Your Strong Prestce at the International Platform ADDS A Dimension to your Valuable Prestnce with the Art Scene in Lebanon. Can you compare and control How Your Work is Perceied International Versus Localy?
International, The Work is Offrocess Through I find views abral tend to interpret the Pieces Through Broader Cultural or Philosphical Frameworks, which OPENS Up Interesting Dialogues. Locolly, The Perception is More Layred – There’s Familiariary with the emotional frequency beneath the chaos. Even if I don’t maike over Cultural References, There’s An UnderCURRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRENT of The Tension, Fragmentation, and Resilience that Resonates on a More Intuitive Level here. So who the Interpretations VARY, Both Spaces Offer Something Essential – One Brings Distance and Critical Reflectivity, The Other Brings A Kind of Vision Recography.
3.
First: Unlearn, but Selectively. Architecture is a powerful Discipline – It Gives You Structure, Discipline, An Undersanding of Spatial Logic. But it can also be Rigid, overly solution-bled. Art Opeats Differencely. It thives on open Questions, Ambiguity, Contradations. My Advice Wald Be to Use your Architecture Traaining As a Toolkit, Not A Rulebook. Be watch to let go of the need to “solution” and Instead Follow Intuition, obsession, and Even Error. Don’t be afraid of failure – in art, that’s offen when the real idaas are hiding.
4. We can give that you Spend a Lot of Time Researching and Experimenting, a face that is reflected in your work. How does your personality help in guiding you to formula a vision as to find your need good or approach is Going to Be?
I’m someone who operations on internal previous – I Follow Ideas UNTIL They Exhaust Themeselves, then I Pivot. There’s always this montal backlog of visual, emotional, and Conceptual material Building Up in me. My Curiosity Tends to Guide the Research – where it’s into psychology, Literatur, Old Comics, or obseure Machinery. But I never start with a CLEAN “Concept”. IT Begins with Drawing, with Movement, With Tend in the hand. The Vision Come Through I think my personality feedes that-I’m obsessive but Open, strong but anti-linear. That Duality Helps Me Generate Work that’s Dense But Alive.
5. Have You Experimented with Sculpting (We Have Seen Your Beautiful Recent Marathon Tophy Design) and is this a direct that we might See You Exploring Anytime Soon?
Yes – Sculpting Has ALWAIS Been Lurking in the Background, and that MARATHON TOPHY Project Gave Me A Concrete Opportunity to Step Into Three Dimensions. It forced me to think about form, material, and physical weight in a way that was book Architecture and Instinctual. I’m definitely intended in pussing that freart – Not Just in TERMS of Objects, But Potentially Immersive Installations or Hybrid Forms that Sit Between Drawing, Sculpture, Machine. Sculpture Activates Space Differencely, and i’m Curious to See How My Language-Whiche is So Line-Based and Psychological-Might EvolVE When IT’S Formed InTO Physical Volume And tactile interaction. I Hope the Three Sculptures I Will Display on the 22nd of May at My Solo Show, Will Positively Surprise People.
