Photo Credit: Mous Lamrabat

Moroccan-Belgian Photographer Mous Lamrabat’s New Exhibition Captures the Necessity Of Peace

We spoke to Moroccan-Belgian photographer Mous Lamrabat about his new exhibition, "Blessing from Mousganistan," and the themes within his work.

Moroccan-Belgian photographer Mous Lamrabat is a world builder with ideas that are refreshing, new, and audacious.

In his new exhibition, which opened in the Fotografiemuseum Amsterdam (Foam) in June, Lamrabat brings to life a utopian land he calls “Mousganistan." "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," Lamrabat told OkayAfrica during a phone conversation. "My Mousganistan is a place I go to become creative because there are no opinions from people."

Fittingly titled “Blessing from Mousganistan,” the exhibit features Lamrabat deconstructing stereotypes and telling personal anecdotes. Lamrabat invites viewers into past experiences of growing up in Belgium and watching the reactions of people towards his mother and sisters because they wore hijabs.

Aligning creativity with his identity has always been a strength of Lamrabat. Over the last couple of years, Lamrabat has been one of the prominent photographers bringing his culture to the forefront of fashion editorials including Vogue, GQ and Fucking Young.

OkayAfrica had a phone call with the photographer where he spoke about his new exhibition, not wanting to explain his work, building an audience, and more.

Mous Lamrabat headshot

Over the last couple of years, Lamrabat has been one of the prominent photographers bringing his culture to the forefront of fashion editorials.

Photo Credit: Dimitri Bekaert

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.

Mous Lamrabat

“Blessing from Mousganistan" runs from June to October at the Fotografiemuseum Amsterdam.

Photo Credit: Mous Lamrabat

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.

Mous Lamrabat photo durags

"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."

Photo Credit: Mous Lamrabat

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.

Mous Lamrabat clown

"Clowns have always been an inspiration because they exude happiness and joy."

Photo Credit: Mous Lamrabat

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.

Mous Lamrabat mother

Mous Lamrabat's work tends to be very personal.

Photo Credit: Mous Lamrabat

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.

Image courtesy of Obinna Obioma

Spotlight: Obi Obioma Shows Us That The Kids Are Not Alright

The Nigerian photographer and art director uses his creative talents to reflect the social, economic, and political realities of Nigerian youths.

In our 'Spotlight' series, we highlight the work of photographers, visual artists, multimedia artists, and more who are producing vibrant, original work.

In our latest piece, we spotlight Nigerian photographer and art director Obinna Obioma. The artist has used his degrees in international relations, diplomacy, and law to translate the grim realities of the Nigerian youth through art. Obioma's work centers largely on the communities he grew up with, and he uses his platform to highlight those stories. His own family inspired him to pursue photography and his creations have continued to reflect his Nigerian heritage and pride. As the artist puts it, his various projects, "Play on the narrative that culture goes deeper than just physical garments". Obioma's latest project 'Naija' tells a familiar story of corruption, insecurity, and police brutality among the youths in West Africa. Nigerian youths are more often than not trying to escape the harsh conditions that their leadership has bestowed on them, most leaving behind their lives totally.

We spoke with Obioma about celebrating our identities and heritage, and how creative honesty can empower a generation.

Responses have been edited for length and clarity.

Describe your background as an artist and the journey you've taken to get it to where it is today.

Although I am an alumnus of the International Center of Photography (ICP, NYC) where I studied photography and Art Direction, I initially come from a less creative background.

My undergraduate and master's degree are in international relations, diplomacy, and international law, respectfully. I was exposed to photography by my photo-enthusiast father while growing up. He would photograph our family for birthdays and other social events -- my love for photography was planted here, and many years later my mother gifted me with a camera after my first degree. I enrolled at YouTube University and then was mentored by photographer Henry Nwaeze where I got to work in his studio as a photo intern, and later a photographer. I then joined ICP to learn photo theory and art direction.

What are the central themes in your work and how have you told the story this time around?

My work is predominantly centered on addressing and celebrating Individuality, Identity, and African Heritage. I often use my African background and Nigerian heritage to inform and influence my style, concepts, and motifs. I believe that as an Artist, my work should be an expression of who I am, the subjective elements that have shaped me, and the issues I hold dear to my heart that I would like to address through my work.

In “Naija” I collaborated with fellow Nigerian artist and Cinematographer Davidson Ogujiuba to create a photo and video project that addresses the core social, economic, and political issues that have continually bedeviled Nigeria.

Looking through the eyes of the youths in Nigeria, the work highlights a few main issues; insecurity, fuel scarcity, teachers' strike actions, and mass exodus of skilled youths to the West. In a more subtle approach, the work also highlights other issues such as bribery and corruption, police brutality, lack of stable electricity, and the unfavorable exchange rate.

Can you talk about your use of accessories in this project?

When conceptualizing and creating the art direction for the photos, it was important to use items that translated visually but did not come off as overly spoon-feeding the viewer. It was important for us to select props and accessories that complimented the theme of the work and were also items that were relatable and could trigger a level of nostalgia.

For instance, to show fuel scarcity we decided to use plastic gallons also known as "jerry cans" which are often used to line up for petrol in gas stations when there’s a scarcity. To show the exchange rate imbalance, a scale was used to visually show how $1 is almost as valuable as ₦1000. Finally, the styling of the man in arms was done in a very ambiguous manner so as to be able to relate to insecurity, police brutality, and also kidnappers and bandits.

The video directing and post-production -- sound design and SFX -- edits by Davidson follow the same blueprint. We wanted the video to be short, straight to the point but still memorable. Each song was carefully selected and vetted to match each clip.

How has the pandemic affected you creatively?

I think like most creatives, the height of the pandemic in 2020 affected how we operate and create. Being a visual artist and photographer, it was rather frustrating not to be able to step out and shoot or even put photo projects together. On a more financial note, there was a dip in clients booking for shoots, etc which affected livelihoods. Regardless, art is one of those things that often adapts to change and shifts landscapes. I can say now that I became a better artist as I was able to tap into other genres of visual art, such as screen-based art, and still create work.

In my work 'Through The Screen', I created it via FaceTime and my Camera to connect and capture. I took the liberty of using photography to tell the story of those who live in such cities, forced to socially distance themselves. In 'Ihe Na Adigi Omimi' -- meaning “Skin Deep” -- I created 3D renders of a Black woman and layered her skin with the popular West African fabric known as Ankara. Playing on the narrative that culture goes deeper than just physical garments. In most cases, they highlight African culture and traditions in events such as birth, death, and marriage; as a result, becoming a means of identity.

Image courtesy of Obinna Obioma

"Tog of Border"




DP -Lillian Djuane @llc_jones

MAKEUP - Morgan Everson - @morganeverson_

COSTUME AND WARDROBE STYLING - Wuraola Oladapo - @wuraolaoladapo

HAIR STYLING - Abiodun Adegawa - @finessedbyabbey

MODELSShannica Ewart - @shannewartShanae - @shanaestrachanElijah Calloway - @eli.lo.meinSebastian Duncan @bashlowkeyRomel Gaddy @roevisionsGabrielle O’Connor - @__blue.roses

Shawn Caldeira @shawncworkshopPHOTO ASSISTANTSSebastian Duncan @bashlowkeyRomel Gaddy @roevisions

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