Newspaper. Paper dimension 41x28,5cm, 2019.

All the issues of a local Swedish newspaper that were published during a year are digitally scanned and printed into a single sheet of paper.

rgb(154,135,125):  Flag, 240cm long, 2019.

The color of the flag derives from a mix of the exact ratio of colors on the Lebanese and Swedish flag.

73 & 1.  Seventy four fluorescent lights, variable dimensions. 2018

73 burned out fluorescent lights.

Prosthetic Love. Book publication,  177 x 254 mm.//2016.

The work documents all the iMessaging between the artist and his partner for a period of five years and is divided into two books.

Composition Rimbaud: Handmade paper,  10x12 cm.//2017.

Five poems by Arthur Rimbaud are sculpted into a single handmade paper.

Nothingness, 2015. Fathers and sons (Ivan Turgenev, 1862), The Metamorphosis (Franz Kafka 1915), The stranger (Albert Camus, 1942). Glue.

400 mm diameter x 4mm.

Three novels are shredded into small strips of paper. The strips are pieced together to form a roll of paper where letters, words and sentences are intertwined. Together they constitute a dense circle circulating around an empty hole, a world of thoughts revolving around a void, contemplating the nothingness.

Everything Counts, 2015. Customized digital clock, 260 x 100 x 60 mm.

The clock displays the seconds that have passed since the artist’s birth, and is set to continue to count indefinitely.

Paul Hage Boutros Confessions. Book publication, heat press printing, black marker, 21x13x5cm//2013-present.

The work is a close copy of the autobiographical work “Confessions” by Jean Jacques Rousseau published in 1782. The close copy version merely retains content (thoughts, actions, reflections, incidents, and confessions) that the artist himself has experienced and can relate to. All other content has been deleted with a black marker.

“Confessions” is an ongoing project of publications, where the first publication (2013) reflect the first thirty years of the artist life, and the next coming publication will contain and reflect experiences gathered during the years since the first publication.

Face to Face, Eye to Eye, Lip to Lip and Tongue to Tongue, 2015. One black hair, one blond hair, dimension 279x420mm.

A hair of the artist and a hair of his partner tied together with a simple knot.

Erasure, 2013-on going series.  70x35x20 mm.

The residue of several different erasers has been collected for a year. The residue are the result of several erasers used for removing personal pencil markings, drawings, sketches, mistakes, unrealized art projects, writings, confessions, thoughts, etc. The residue has been gathered, melted down and re-molded to form a new eraser: a resurrected body made of deleted actions.

Three Clocks In One Clock. Three hand made analog clocks, 3x30cm// 2013-2014.

 The work “Three clocks in one clock” is made of three analog identical clocks: first clock shows only the hours hand, the second clock shows only the minutes hand and the third clock shows only the seconds hand. All three clocks are running simultaneously and synchronized to display the actual present time.

0-2 765 000 Swedish kronor, 2015, Prayer stool and unscratched lottery ticket. Dimensions variable.

I am recommended!, 2011-ongoing series. Five recommendation letters, ink on paper, dimension: 210x297 mm.

Rethinking The Fundamentals, 2015. Cedrus Libani, 5ml/cc the artist blood, ceramic pot, dimensions variable.

Since The Time of Homo erectus, 2015. Glasswool, lamb chop. Dimensions variable.

Mourning a Dead Fly, 2015. Fly, mirror, pedestal, 270 x 270 mm.

Portrait of The Dead Fly, 2015. Pencil on paper, 210 x 297 mm.

A dead fly found at Galleri Mors Mössa is placed back at the very spot where it was once found.

Gun, 2012. Video, format 16:9, length of video: 6’15’’.

Three people are shooting with a gun. The picture neither reveals their identities nor what they are aiming at.

The intensity and mystery of the image versus the sad poetic music leaves the viewer in a wondering state.

205 x 292 mm. Plain Paper 95g/m2, dimension 205x292mm// 2012-2015.

A plain A4 (210x297mm) piece of paper is crumpled; a simple square surface is transformed into an object with structural complexities, filled with irregular forms and mysteries. After the act of crumpling the paper has been unfolded and many tries such as heat pressing, straightening, fixing, ironing and different processes were employed for several hours in order to restore its original form of a simple intact A4 surface. The result is far from an equilibrium process, one that leaves unpredictable traces and results in a new paper dimension 205x292mm.

The work is done in similar way on A0, A2, A1 and A3 paper size.

205 x 292 mm

photo by: Alberto Ricci

Dust to Dust, 2013-2015. Collection of dust, 150 mm diameter.

The work is an accumulation of dust gathered by the artist for the last three years. The dust has been collected from

different residue deriving from his personal belongings and environment such as clothing, plant pollen, human hairs,

textile fibers, paper fibers etc.

The Face Behind The Mask. Two metal coins, 25 mm each// 2013.

In the work “The face behind the mask” the two surfaces of Euro coin and 100 Korean Won coin are manually rubbed and scratched against each other for 95 hours until the faces delete each other.

The work was accomplished during my three month residency at MMCA Korea.

15 years, 2015. Two pair of eyeglasses, wooden table.

Two pairs of eyeglasses worn by the artist at different ages of his life.

A Copy As An Original, 2013. Pencil on paper, 72 x A4.

A Copy As An Original is made of  72 numbered sketches. Each sketch is carried out by hand, and has been formed by trying to duplicate the previous sketch in the series. With every new sketch, the motif becomes less and less alike the first sketch in the series, which is an exact reproduction of a scaled Lebanese map. The sketches are transformed, and visually altered every time a copy is performed. Every change appearing in a copy has an unpredicted start for the sketch to follow. Every copy is by itself experiencing a desire for a change, a desire to be more than a mere copy; a change from the status of “copies of copies” to different originals.

It's Confusing These Days, 2010. Video Installation, free Standing Inclined Gibson board : 2.5x1.8 meter, video format 4:3 , length of video: 14’19’’ looped.

The natural Still-leben environment pictured in the opening scene is disturbed by sudden movement and human interaction; silently, the natural element is cut into pieces and thereby displaced from its original existence. The cyclic movement of the actor coming, making and going, questions the transitory of people as opposed to the constancy of their surroundings; are we actors or directors in the world we enter ?

No Signal, 2013. Twenty one perforated plain A4 paper.

“No signal” is perforated manually as digital letters on a stack of A4 sketch papers.  The result is a degradation of the holes depth along the distribution of the applied manual force (weight of the artist) on the whole stack of papers.

The following process shows a quantity exhibiting variation in time and space that provide information on the status of a physical system.

Assembly-1, 2012. Wood Sculpture, left over and dumped wood from student workshop, dimension: 3.6x2.6x0.8 meter.

The vocabulary of the sculpture consists of man-made wood leftover objects, which I gathered for a period of a year from several artist studios and workshops. All these materials are being found trashed or dumped. I’m interested in subtracting life to these “junk” by scaling them up into architectural sculpture so that the most mundane become endowed with a new grandeur.

Master Slave Dialectic, 2011. Video, format 16:9, length of video: 7’08’’.

The video shows the encounter between a self-conscious being and a non self conscious object, where the director is engaged in a struggle with the camera in order to enslave it, only to find that this does not give him the control over the machine he had sought.

DEAUVILLE, 2012. Mixed media installation, looped video projection on triptych canvas (800x600 mm each) Length of video: 3’47’’.

“I went for a summer vacation in Deauville, France, and was surprised to see that the public resorts there were bombarded with tourists. I could hardly have my own space at the beach to lie down and relax. The thought that my four-days vacation would be filled with an anti-relaxing environment of noises and people annoyed me. same night, I approached the man responsible for cleaning the beach and asked him to help me carrying the buoyant ball from the sea shore to the beach area, where, obviously, it should not be. In the morning no one approached the place were the big ball was and I had about 200m2 empty space for myself - magnifique!

My luck didn’t last long, though. A few hours later, the person in charge of the beach came by with the garbage man blaming me for what I had done, and asked me to return the buoyant ball to where it belongs.

The second day, although the ball was not lying at the beach anymore, people still did not approach that area. The guy came again and accused me of violating the law for public places. Later in the day, with the help of the garbage guy and his sand-cleaning machine, I decided to clean all the beach while leaving my footsteps the same place where I had placed the ball two days ago. Next morning, people were attracted by this odd image and started invading the place again”.

Scary Gargoyle, 2011. Mixed media installation, HD camera, tripod, 5 sheets of glass, two wireless headphones, zoom microphone, amplifier, pavement rocks.

In the installation Scary Gargoyle, I divided the gallery in half with planes of thick clear glass. A small passage between the two spaces was left.

Visitors to Scary Gargoyle were informed upon entering the gallery that the doors would be sealed for a specified period of time, leaving viewers without any further instruction or explanation. On the floor paving stones were gathered in three small stacks. Centered behind the glass barrier, a video camera mounted on a tripod faced the viewers. Two wireless headphones could be found on each side of the room, once wore the spectator could hear all movements and sounds on both sides of the room.

Time passed, the room murmured with low-level conversation. A sudden shattering of glass exploded the air – someone broke from the group to hurl a stone into the glass wall. After stunning silence, the remaining shards of the barrier were targeted again, and again. The gallery doors were unlocked – free passage was once again permitted.