THE CITY’S FABRIC

A TAILORED SILHOUETTE SEAMLESSLY SET AGAINST THE SURFACE OF THE URBAN FABRIC and the folds of its history.

In the sartorial atmosphere of tailoring, every visual text permeated by the texture of the cloth is actual textile. Here we are reminded of what Gilles Deleuze had once termed a “texturology:” a philosophical and art-related conception in which solid surfaces - or better, façades or matter - are clothed in the sense that it is fabric, an enveloping texture. We can configure a fibrous form and relation between the visual representation and texturality of cloth and the dilapidated city walls and ruins of Beirut, clad and framed as dense as tapestry of color and marred fresco, the peeling layers of paint, patina, and time “sheets,” rendered even more textural by the ever-peeling and worn off - or better, worn in - fabric of old posters married to the city’s surface and walls, and are set against, and threaded to, the fabric of cloth, only to illustrate a visual tapestry like no other.  

The city turns into a visual canvas that is actually “textural” as it emerges out of its saturated and haptic surfaces, where cloth turns into walls and walls into fabric.