Mohamad Kanaan

– Casa Wabi 2017

Community Project

SILLAS CONCEPTUALES / MURAL – Cooperativa “La flor del Mangar” en Zapotalito
Mohamad worked with the ladies of the group “Women fishermen of Zapotalito, the Mangrove Flower.”The workshop’s main idea was to make chairs with unique designs that portray their personal history or some aspect that characterized their way of life. During the first session, the resident talked about his work and how it is related to the creation of chairs. Different designs of chairs were shown to help them exploit their creativity when designing their own. The next stage was the design of each chair, which contained a drawing of what the elaborated product would be like, accompanied by a description of the furniture in question, highlighting the personal features that each wanted to capture. At the same time, they asked the resident to prepare a mural together with them to decorate their restaurant and design ideas were discussed.
The following sessions were dedicated to elaborating, preparing, and assembling the chairs, using recycled and waste items that could be found in the community, to teach them how to make the most of each element and not to buy any material. Trunks, palms, huacales, mangrove roots, and coconuts were used to make the chairs. The mural was painted with the help of Koba de Meutter, Keke Vilabelda, and Sebastián Hoffman. The mural depicts a woman who descends from the sky towards the Zapotalito lagoon; her hair resembles the tentacles of a squid, the bottom is full of animals that the women of the collective usually catch and at the top are the two large stars that govern the activities of fishing and work.

Log-Piece

  • Sin Título (2017) 7 esculturas de barro Medidas variables

Sin Título (2017)
7 esculturas de barro
Medidas variables

Lebanon

Lives and works in New York

Born in Beirut, Mohamad Kanaan lives and works in New York.
In Kanaan’s practice, art is an extension of architecture. Architects insert series of objects into a certain context to which they adapt as they alter its composition. There is give and take. Concerns surrounding scale, anatomy, identity, anxiety, and loss traverse his work. Through text and functional sculpture in particular, he plays with these themes in an autobiographical frame.
Chairs evoke the concept of the household in Kanaan’s work, tying them to memory and domesticity. They are also one of the first physical symbols of the subconscious that a child can create. Each piece joins physicality and psychology: the chair itself, the human body that engages it by sitting, and an individual’s memories of that encounter combine to create an interactive and performative object.
Kanaan’s work consists of little feelings, compartmentalized affects, and repressed emotions. Poetics guide his approach to furniture and architectural forms; maintaining a romantic and tragic anticipation of the bodies that will interact with the work. There is always translation, expression, implication, or repression. His text work and poetry address syntax and love, exploring how spatial relationships affect them.
Kanaan has worked in art direction, production, interior design, and furniture design, as an apprentice to renowned artist-designer Sebastian Errazuriz. He holds a B.A. in architecture from the American University of Beirut and an M.F.A. from the School of the Art Institute of Chicago.
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October – November 2017
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