“Perhaps there remains some tree on a slope,
that we can see again each day:
there remains to us yesterday’s street,
and the thinned-out loyalty of a habit
that liked us, and so stayed,
and never departed.” Rilke
In his search for the divinest consolation, the artist unfolds an understanding, his unrequited love for objects, not humans, not the invisible. Perhaps consolation remains in things, incapable of transformation and therefore soothing in their neutrality.
This unrequited love for objects stems from the artist’s own difficulties with reciprocal human relationships. Objects represent an idea of perfect internality, beyond human contradictions and limitations, and act as guardians of his solitude.
The Consolation is a project that erupted amidst the three key events of 2019-2020 in Lebanon: The October 17 protests, the Pandemic’s confinement measures, and Beirut’s August 4 explosion.