Moath Alofi

12,000 housing units including mosques, schools, hotels, and governmental facilities, in addition to the acquired vast and undeveloped lands, which lead to the change in the mobility with this newly transformed spaces.

Doors document the physical aftermath of societal displacement, the doors act as an ID which represents the family’s residing in it.

This displacement affected the people in terms of the surprising nature of it, and forced under the shadow of transparency.

Moath started to document this 3 years ago.

The architecture, the use of the volcanic rocks, the building define the history of the area.

12,000 housing units including mosques, schools, hotels, and governmental facilities, in addition to the acquired vast and undeveloped lands, which lead to the change in the mobility with this newly transformed spaces.

Doors document the physical aftermath of societal displacement, the doors act as an ID which represents the family’s residing in it.

This displacement affected the people in terms of the surprising nature of it, and forced under the shadow of transparency.

Moath started to document this 3 years ago.

The architecture, the use of the volcanic rocks, the building define the history of the area.

12,000 housing units including mosques, schools, hotels, and governmental facilities, in addition to the acquired vast and undeveloped lands, which lead to the change in the mobility with this newly transformed spaces.

Doors document the physical aftermath of societal displacement, the doors act as an ID which represents the family’s residing in it.

This displacement affected the people in terms of the surprising nature of it, and forced under the shadow of transparency.

Moath started to document this 3 years ago.

The architecture, the use of the volcanic rocks, the building define the history of the area.

12,000 housing units including mosques, schools, hotels, and governmental facilities, in addition to the acquired vast and undeveloped lands, which lead to the change in the mobility with this newly transformed spaces.

Doors document the physical aftermath of societal displacement, the doors act as an ID which represents the family’s residing in it.

This displacement affected the people in terms of the surprising nature of it, and forced under the shadow of transparency.

Moath started to document this 3 years ago.

The architecture, the use of the volcanic rocks, the building define the history of the area.

12,000 housing units including mosques, schools, hotels, and governmental facilities, in addition to the acquired vast and undeveloped lands, which lead to the change in the mobility with this newly transformed spaces.

Doors document the physical aftermath of societal displacement, the doors act as an ID which represents the family’s residing in it.

This displacement affected the people in terms of the surprising nature of it, and forced under the shadow of transparency.

Moath started to document this 3 years ago.

The architecture, the use of the volcanic rocks, the building define the history of the area.

The depicted demolishing symbols mark the first phase of an impending destruction, these symbols are haunting, cancerous, apocalyptic.

Spread around the city, can be seen everywhere, yet it goes unnoticeable at first.

There’s a haunting feel about the numbers.

Some people fight against these numbers, by erasing, scratching and painting over these numbers.

The depicted demolishing symbols mark the first phase of an impending destruction, these symbols are haunting, cancerous, apocalyptic.

Spread around the city, can be seen everywhere, yet it goes unnoticeable at first.

There’s a haunting feel about the numbers.

Some people fight against these numbers, by erasing, scratching and painting over these numbers.

The depicted demolishing symbols mark the first phase of an impending destruction, these symbols are haunting, cancerous, apocalyptic.

Spread around the city, can be seen everywhere, yet it goes unnoticeable at first.

There’s a haunting feel about the numbers.

Some people fight against these numbers, by erasing, scratching and painting over these numbers.

The depicted demolishing symbols mark the first phase of an impending destruction, these symbols are haunting, cancerous, apocalyptic.

Spread around the city, can be seen everywhere, yet it goes unnoticeable at first.

There’s a haunting feel about the numbers.

Some people fight against these numbers, by erasing, scratching and painting over these numbers.

The depicted demolishing symbols mark the first phase of an impending destruction, these symbols are haunting, cancerous, apocalyptic.

Spread around the city, can be seen everywhere, yet it goes unnoticeable at first.

There’s a haunting feel about the numbers.

Some people fight against these numbers, by erasing, scratching and painting over these numbers.

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?