Beatriz Morales, Elena Gileva, Babak Kazemi and Pargol Einaloo

Beatriz Morales combines an investigative, abstract-expressionist approach with figurative and illustrative components.

"I started noticing the beauty of the city (and culture) as it is. The buildings in various states of repair and disrepair, the construction sites, the modern high-rises cropping up everywhere"

The artist looks for glimpses of past, present and future within the cracks of the surfaces of the city

Using a color field approach with stitching that echoes the works of her father, the artist tries to reflect the Lebanese tradition of textile manufacture.

The artist developed a technique of applying multiple coats of paint, wax and other materials on wood, canvas, and metal surfaces and the subjected them to decay and disruption.

Elena Gileva developed a series called ‘Archeology of a moment’. The works she presented symbolizes the ‘Remains of a subjective perception - Ruins of present labour’.

Her work table is laid out with shards of the making, remains of the process that create the landscape of a personal museum.

“I work through the references of the far and recent past, piled as layers of archeological strata scattered around contemporary landscape of identities and cultures."

"Drawing on the multiplicity of the references I intertwine them like coils of clay and create an impostor archeology of my own.”

The core of Babak Kazemi and Pargol Einaloo’s practice is deeply embedded with political themes from the region, shaping the concept and methodology of their work.

As collectors of found material, they have gathered archives from the local markets to investigate a time when Lebanon was considered 'The Bride of the Middle East’.

In doing so, they happened to fall upon old wedding albums from the 1960s which inspired their work at BAR.