“I do not work with matter. I work with what passes through it.”— Younes Khourassani
“I do not work with matter. I work with what passes through it.”
Journal & Actualités
The Casablanca School laid the foundations of an authentic Moroccan modernism. Fifty years on, its legacy continues to shape my vision and artistic practice.
In my practice, light is not a simple visual effect — it is the principal material, the tool that transforms matter into emotion.
The 1-54 international art fair in London let me put my work to an international test, in an unexpected dialogue with the Coty house.
Since 2020, I have been exploring cellulosic paint on panel and aluminium — a medium that captures light differently, vibrating and transforming depending on the angle of view.
In my work, matter is never an end in itself: it is a passage toward what cannot be seen, a space where void becomes presence and surface becomes depth.
The SIAM Trophy confronted me with a fundamental question: how can art bear witness to our relationship with earth and water without sliding into illustration?
Frieze, Art Basel, 1-54: African and diaspora artists are making a powerful mark at the world's major fairs. An analysis of a movement redefining the international art scene.
Aluminium as a painting support: why this industrial material opens unprecedented plastic possibilities for contemporary cellulosic painting.
Western geometric abstraction and the Arab-Berber ornamental tradition followed parallel paths. Exploring this double history is the key to understanding what makes Moroccan contemporary art irreducible to its European influences alone.
The residency in Paris with Coty UK was far more than a simple collaboration: an experience that repositioned my gaze on the relationship between art, space and perception.
The Art Basel & UBS 2025 report outlines a global art scene in transition: the rise of galleries, and emerging poles in Asia, Africa and the Middle East.
The light of Morocco — intense, directional, laden with dust and history — is the primary material of my paintings, before paint itself.
Abu Dhabi, Paris, Amsterdam, London, Marrakech, Cape Town: five years of international exhibitions confronted me with a central question — what crosses borders in a work of art?
How is a series born? The genesis of 'Sacred Light' — from the first intuition to its exhibition at Galerie 38 in Casablanca — retraces the path between idea and form.
Painter and sculptor, a Moroccan visual artist trained in Casablanca within the legacy of the Casablanca School: a portrait of a journey between matter and light.
A tour of contemporary art galleries in Casablanca — exhibition venues, institutions and spaces that keep the Moroccan art scene alive.
What does it mean to be a Moroccan contemporary artist in 2026? Between a Casablanca studio and international art fairs, the portrait of a journey in motion.
A day in the life of a contemporary painter in Casablanca: between the slowness of gesture, the discipline of matter and the rhythm of a city that infuses every canvas.
Moving from painting to sculpture: how a Moroccan contemporary painter approaches volume, raw matter and public sculpture.
International art fairs, a new generation of collectors, expanding institutions: where does Moroccan contemporary art stand in 2026?
Originating in the automotive industry, cellulosic paint has become a singular medium in contemporary art, valued for its luminosity and chromatic depth.
In the 1960s, a group of Moroccan artists redefined the contours of national artistic modernity. A look back at the Casablanca School and its legacy.
Russian Suprematism, Constructivism, Op Art... and centuries-old ornamental traditions: geometric abstraction has plural origins long overlooked by Western art history.
From Baroque chiaroscuro to contemporary art that treats light as material, a look at a pictorial obsession running through Western art history and beyond.
Monument, visual landmark, subject of debate: public sculpture occupies a singular place in urban space, at the crossroads of art, architecture and collective memory.
Light, rigid, non-porous: aluminium has established itself over recent decades as an alternative support to canvas for part of contemporary painting.
Contact
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