2015–ongoing
Pigment prints
Selected works: No Innocent Images (Palestine), 2015; Afghanistan 100, 2019; No Innocent Images (Media), 2021
No Innocent Images is an ongoing body of work in which collections of images are condensed into single photographic surfaces. The series began in Palestine in 2015, where photographs taken at specific locations were merged into abstract prints that preserved the original visual information while making the images unreadable. The method emerged from a concrete political situation: the need to carry images without exposing the people, places, or conversations connected to them.
In later works, the method was extended to Google and Bing image-search results. Here, the source material comes from the images returned for a specific word or phrase, showing how certain subjects repeatedly appear through similar colors, compositions, bodies, objects, and atmospheres. Search terms such as Afghanistan, refugee, artificial intelligence, porn, and coronavirus return image fields shaped by repetition, ranking, stereotype, desire, and fear.
Across the series, abstraction functions as a form of documentation. The individual images disappear, but their shared visual logic remains visible in color, density, atmosphere, and repetition. The works make image regimes perceptible through accumulation, condensation, and the withdrawal of detail.
No Innocent Images (Palestine), 2015
The first works in the series were made from photographs taken in the West Bank in 2015. Each print combines approximately 20 to 30 photographs from a specific location. The images were merged so that the original information remains present in the file, while the photograph as a readable document disappears.
The works were made in response to the difficulty of carrying and showing photographs from a politically controlled context, where images of places, people, or encounters could expose more than intended. Concealment becomes part of the image-making process. The image remains present as visual information while becoming unavailable as a readable document.
Afghanistan 100, 2019
Afghanistan 100 condenses the first hundred Google image-search results for “Afghanistan” into a single blurred surface. The work retains the colors, contrasts, and repeated motifs of the source images while withdrawing their individual readability. What remains is the visual atmosphere through which a place is repeatedly made recognizable.
No Innocent Images (Media), 2021
In the Media works, image-search results are treated as collective visual fields. Each work begins from a search term and gathers the images returned by Google and Bing into a single surface. The resulting prints show how image search gathers and repeats certain visual patterns around a word, place, body, or event.
In the condensed image, individual pictures can no longer be read separately, but their recurring colors, compositions, atmospheres, and associations remain visible. The work makes the image search result visible as a structure of repetition, ranking, and recurring visual association.
Selected works in the series
Portrait of a Refugee, 2021
Inkjet print on DIASEC, 52 × 50 cm
Palestine, 2015
Inkjet prints, 43 × 65 cm
- The Dead Sea
- Islamic cemetery
- Betlehem
- Hike on Jeebya
- The holy sites
- Walking in Ramallah
- Jerusalem
- The wall and settlements
Afghanistan 100, 2019
Inkjet print on DIASEC, 25 × 47 cm
Coronavirus, 2021
Inkjet print on DIASEC, 38 × 50 cm
Porn, 2021
Inkjet print on DIASEC, 68 × 50 cm
Artificial Intelligence, 2021
Inkjet print on DIASEC, 38 × 50 cm