You are one of the prominent photographers from Northern Africa, how did your journey as a visual artist emerge?

I feel my journey as an artist is still starting. I studied interior design at the KASK & Conservatorium / School of Arts Gent, Belgium. My father was a creative person and that's why I wanted to enter the academy and do something creative but when I arrived at the academy, I realized that I wasn’t actually as creative as the other kids who grew up having their parents take them to the museum and who were in touch with their innate creativity at an early age. I didn’t have that kind of opportunity because my parents were first generation immigrants. They didn’t go to museums or even know what art actually was.

When I went to school there, I felt at home because there were kids in the hallway painting. There were some people playing music and I really felt like I belonged there and I really wanted to prove that I belonged there. I learnt very fast how to be creative and how to become the expectation of my teachers. It felt like I was infected with the creative virus, I wanted it to be so good. When I finished my study, I was asked by an architectural company to come join their team, but I didn’t do that because I wanted to be creative every day. Architecture is a little bit of creativity and the rest is technical and I didn’t want that for myself. So I declined all the job offers and I went to assist a local photographer as an assistant

Your work revolves around stories of identity, especially life as a Moroccan. Can you say more?

Growing up Moroccan, African, and muslim in Belgium, I wanted to belong and be part of a group. Every person in the Western world has this crisis with sticking to their roots or joining mass of people, that feeling of leaving behind heritage. For me , I didn’t have to choose between these things because it’s like society tells us the truth but we basically don’t have to choose. That’s why I started doing my own thing within photography, showing who I am as a person, what my interests are, and how I grew up. I mean I am African, I am Moroccan, I am Muslim but I also grew up in a world where I use to love playing basket ball, listening to hip-hop — all these things made me who I am and the total of it made me strong. Inside the house, we were Moroccan, we took off our shoes, the house looked Moroccan but outside was Belgium.

What was the inspiration behind “Blessings from Mousganistan”?

"Mousganitan" started off as a bit of a joke. I always felt like if you wanted to do something different from everybody else and not be judged, then you don’t necessarily need to share that idea because we all do have ideas. For me, when you tell people your ideas, people always have an opinion and you tend to adapt to what they say which affects your creativity. I feel like every creative person needs to have a made up place where they create raw ideas of what they want to do without being affected by the outside place. So my Mousganistan is a place I go to become creative because there are no opinions from people.

In one of the portraits, a star sign can be seen on the muses’s head. Is there a meaning to this?

Everything I do is always personal and it also revolves around things happening in the world that bothers me and have an effect on me and my creative process. When there was a lot of unrest in the Middle East between Pakistan and Israel, it was really something that tore us apart. Jewish and Islamic people have always been brothers biblically because we are children of the book. This is why sometimes I put together things to have that message out. For me that photography was putting Judaism and Islam in one image to bring it back together and have conversations about it. I wanted people to see the unison between both religions and understand that photographic intent of promoting peace.

Was the series a means to emphasize on women’s rights?

When I talk about women’s rights, I mostly speak about my own experience. Experiences about my mother in the supermarket because my mother wears a hijab and how the people react to her is uncomfortable. It hurts me to see that people treat and see them as less and this is something I will always contribute my work to, to give people like my mother and sister a representation.

There is a portrait in this exhibition of two boys catching a grip of flowers. Was that your attempt to speak about masculinity and what it looks like in Morocco?

It’s not exactly like masculinity because the series was inspired by old paintings and I was looking through the inspiration of my past work and it gave me the aura of trying something new from the old. I never explain my work in exhibitions. Most of the time I hear a lot of people talk about my work and their interpretations, and I learn so much from them because I realize there is more to my work than I expect it to be. So that’s why I love that you interpreted the photo to be a view on masculinity. Maybe it resonates with you as a person or maybe it makes you think about masculinity.

The collection had a portraiture of clowns, was this an inclination to capture humor.

I was always intrigued by clowns because I love emotions. Clowns have always been an inspiration because they exude happiness and joy. But I always found clowns sad sometimes but that’s not what they are invented for. I love playing with clown photos because there are so much emotions there. I always try to put humor in them because if you make someone feel something when they look at your photo, they would remember it because of the emotions in the photos. And my favorite one is humor because laughter is important, and I want to put messages inside my photos but I always try to do it on a positive note.

Have you ever had to compromise or wrestle with toning down your Arabic imagery in your photography to please certain eyeballs?

I would be lying if I said no. I never took the audience as an issue. If I ever had a reaction, it has only been on social media because whenever I do exhibitions, the people that come have a certain intelligence to understand the scenery of my exhibition. It’s not just one photo that they see in an exhibition, it consists of the total. But on social media, when I post a photo, people always have something to say about my work or share their opinion. I didn’t compromise that much honestly because I felt my work was growing quite fast. I don’t want to compromise but if I don’t, I get these reactions that don't sit well with me because I’m kind of a soft person. When a person talks bad about my work, it feels like they talk bad about my children. I’m very passionate about what I do. I feel like I would compromise more but I hope I won’t.

Would you say the creative world has been more accepting of photographers like yourself or do you face certain barriers?

I think so, yes. The creative world is in need of inspiration and when you do something refreshing and new, people get attracted to it. If I see some people’s art which sometimes I love and sometimes I don’t but if it’s something super refreshing, I automatically respect it whether I like it or not. That’s also the part of the respect I get from the creative world because my work was something people never saw before and that’s why they respect me and want to exhibit me.