I begin by looking around in my living room and gathering some Moroccan objects that capture my attention. I strive to connect these elements around themes associated with everyday life, such as Ramadan, prayer or tea time. I try to arrange these simple objects of everyday life in such a way that it presents a challenge to capture the beauty of leather, terracotta, glass, aluminum, tin, silver or fabric.
On occasion, I execute a quick charcoal drawing on a paper prior to painting. This exercise serves as a warm-up for my brain and helps me focus on the project at hand. In most cases, however I “jump” on the white canvas and cover it as an under wash with a mixture of yellow ochre and English Turpentine. (I paint in oil). On the flooded surface I quickly sketch the composition with a brush. During this process, I’m not afraid to make changes. I try to build up the elements of my composition in a single session as the drying of the oil paint is crucial in the process. It is preferable when painting patterns that the neither under layer be neither wet as this may cause the colors to mix, nor should it be too dry as this may cause the pattern to appear as if it doesn’t belong to the object. I avoid working on a small canvas (18”x24”) for more than two to three days. I prefer to work rapidly. My point of view is that too much fussing with the painting can cause it to lose its freshness. But it is always hard to decide when to stop. I believe that the life is short and we have a lot to accomplish.
