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Moataz Nasr

Come to Light, 2019, crystal, 45 x 30 x 30 cm. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Come to Light, 2019, crystal, 45 x 30 x 30 cm. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Om El Saad (The Slave Market), 2019, cotton paper C-print on Dibond, 150 x 210 cm. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Abeya (The Slave Market), 2019, cotton paper C-print on Dibond, 150 x 210 cm. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

G Tower, 2019, gas tanks. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

G Tower, 2019, gas tanks. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Shelter, 2019, wood. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Shelter, 2019, wood. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Apophis, 2019, wood. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Apophis, 2019, wood. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Shattered Glass, 2019, crystal, 88 x 140 cm. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Shattered Glass, 2019, crystal, 88 x 140 cm. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Petro Beads, 2019, 34 gas containers, metal site-specific dimensions. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Petro Beads, 2019, 34 gas containers, metal site-specific dimensions. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

Sun Boat, 2018, wood, 3,5 x diameter 10 m, exhibition view at Jardin des Tuileries. Photo: Maxime Bessieres

Moataz Nasr

Sun Boat, 2018, wood, 3,5 x diameter 10 m, exhibition view at Jardin des Tuileries. Photo: Maxime Bessieres

Moataz Nasr

Sun Boat, 2018, wood, 3,5 x diameter 10 m, exhibition view at Jardin des Tuileries. Photo: Maxime Bessieres

Moataz Nasr

The Mountain, 2017, video installation, 12 minutes. Photo: Oak Taylor-Smith

Moataz Nasr

The Mountain, 2017, video installation, 12 minutes. Photo: Oak Taylor-Smith

Moataz Nasr

The Mountain, 2017, video installation, 12 minutes. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

The Mountain, 2017, video, 12 minutes, video still.

Moataz Nasr

The Mountain, 2017, video, 12 minutes, video still.

Moataz Nasr

The Mountain, 2017, video installation, 12 minutes. Photo: Ela Bialkowska, OKNO Studio

Moataz Nasr

The Minaret, 2016, wood, iron, light, crystal, 600 x 600 x 670 cm - wood sculpture: 500 x 300 x 300 cm. Photo: Bernardo Ricci

Moataz Nasr

The Minaret, 2016, wood, iron, light, crystal, 600 x 600 x 670 cm - wood sculpture: 500 x 300 x 300 cm. Photo: Bernardo Ricci

Moataz Nasr

Rose (The slave Market), 2016, cotton paper C-print on Dibond, from Una esclava en venta by José Jiménez Aranda (1837-1903), 185 cm x 146,5 cm, © Museo Nacional del Prado. Photo: Ela Bialkowska

Moataz Nasr

Vacanze romane, 2013, 8 Vespa Piaggio, side: 170 cm. Photo: Cesare Bonifazi Martinozzi

Moataz Nasr

Vacanze romane, 2013, 8 Vespa Piaggio, side: 170 cm. Photo: Cesare Bonifazi Martinozzi

Moataz Nasr

Vacanze romane, 2013, 8 Vespa Piaggio, side: 170 cm. Photo: Cesare Bonifazi Martinozzi

Moataz Nasr

The return of a Griffin, 2013, structure of polyurethane foam, leather, 160 x 130,5 x 64,4 about, This work was made possible through the invaluable contribution of Renato Corti SpA.The 3D model for fashioning the structure has been generously provided by the Visual Computing Laboratory of the Institute of Information Science and Technologies (CNR-ISTI), the Pisa National Research Council. Photo: Ela Bialkowska

Moataz Nasr

The return of a Griffin, 2013, structure of polyurethane foam, leather, 160 x 130,5 x 64,4 about, This work was made possible through the invaluable contribution of Renato Corti SpA.The 3D model for fashioning the structure has been generously provided by the Visual Computing Laboratory of the Institute of Information Science and Technologies (CNR-ISTI), the Pisa National Research Council. Photo: Ela Bialkowska

Moataz Nasr

The return of a Griffin, 2013, structure of polyurethane foam, leather, 160 x 130,5 x 64,4 about, This work was made possible through the invaluable contribution of Renato Corti SpA.The 3D model for fashioning the structure has been generously provided by the Visual Computing Laboratory of the Institute of Information Science and Technologies (CNR-ISTI), the Pisa National Research Council. Photo: Cesare Bonifazi Martinozzi

Moataz Nasr

The return of a Griffin, 2013, structure of polyurethane foam, leather, 160 x 130,5 x 64,4 about, This work was made possible through the invaluable contribution of Renato Corti SpA.The 3D model for fashioning the structure has been generously provided by the Visual Computing Laboratory of the Institute of Information Science and Technologies (CNR-ISTI), the Pisa National Research Council. Photo: Cesare Bonifazi Martinozzi

Moataz Nasr

Arabesque I (Lost Heritage), 2013, matches, wood, Plexiglas, 180 x 180 x 10 cm. Photo: Oak Taylor-Smith

Moataz Nasr

Arabesque I (Lost Heritage), 2013, matches, wood, Plexiglas, 180 x 180 x 10 cm. Photo: Alvaro Scarpellini, Pisa

Moataz Nasr

Elshaab, 2012, 25 ceramic characters, about 27 x 6 x 10 cm each. Photo: Oak Taylor-Smith

Moataz Nasr

Elshaab, 2012, 25 ceramic characters, about 27 x 6 x 10 cm each. Photo: Oak Taylor-Smith

Moataz Nasr

Elshaab, 2012, 25 ceramic characters, about 27 x 6 x 10 cm each. Photo: Oak Taylor-Smith

Moataz Nasr

Ballons, 2012, balloons, 70 x 21 x 21 cm each. Photo: Oak Taylor-Smith

Moataz Nasr

Ballons, 2012, balloons, 70 x 21 x 21 cm each. Photo: Oak Taylor-Smith

Moataz Nasr

Ballons, 2012, balloons, 70 x 21 x 21 cm each. Photo: Oak Taylor-Smith

Moataz Nasr

Khayameya, 2011-2012, matches on wood, Plexiglas, 200 x 200 x 10 cm. Photo: Ela Bialkowska

Moataz Nasr

Khayameya, 2011-2012, matches on wood, Plexiglas, 200 x 200 x 10 cm. Photo: Ela Bialkowska

Moataz Nasr

Khayameya, 2011-2012, matches on wood, Plexiglas, 200 x 200 x 10 cm. Photo: Ela Bialkowska

Moataz Nasr

The Maze (The People Want the Fall of the Regime), 2011, Kufi caligraphy on grass site-specific project, Jardin des Tuileries, Paris, France (October 18 – 23, 2011), 28 x 2 8m. Photo: Oak Taylor-Smith

Moataz Nasr

The Maze (The People Want the Fall of the Regime), 2011, Kufi caligraphy on grass site-specific project, Jardin des Tuileries, Paris, France (October 18 – 23, 2011), 28 x 2 8m. Photo: Oak Taylor-Smith

Moataz Nasr

The Maze (The People Want the Fall of the Regime), 2011, Kufi caligraphy on grass site-specific project, Jardin des Tuileries, Paris, France (October 18 – 23, 2011), 28 x 2 8m. Photo: Oak Taylor-Smith

Moataz Nasr

Merge and Emerge, 2011, 3 videos, 6’25” each, loop.

Moataz Nasr

Merge and Emerge, 2011, 3 videos, 6’25” each, loop.

Moataz Nasr

Merge and Emerge, 2011, 3 videos, 6’25” each, loop.

Moataz Nasr

Merge and Emerge, 2011, 3 videos, 6’25” each, loop.

Moataz Nasr

Merge and Emerge, 2011, 3 videos, 6’25” each, loop.

Moataz Nasr

Merge and Emerge, 2011, 3 videos, 6’25” each, loop.

Moataz Nasr: a choral quest towards shared experiences and aspirations

Via multiple forms of artistic expression, including painting, sculpture, photography, video and drawing, Moataz Nasr addresses social, philosophical, historical, geographical and political issues. His realm of investigation emerges from his diverse roots that embrace the rest of the world. Firmly rooted in his birth place, but blending seamlessly with the broader contemporary society, the artist employs his geographical origins as a pretext to go beyond political and religious borders. He projects himself into a dialogue with different histories and cultures. His entire body of work expresses this desire to visualize collective dynamics, starting with a careful and sensitive documentation of personalities which are both individual and universal.

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