“The Hyper Images project brings together two photographic approaches dating back to my early work in photography in Beirut, between 1993 and 2002. 
 
On one hand, a series of photograms representing jasmine flowers picked from the streets and then brought into my photographic laboratory. On the other hand, my first photographs of post-war Beirut, taken during long walks from my neighborhood in Sioufi to Raouché, following various paths, especially through the city center. 
 
I was still a student, discovering Beirut and photography simultaneously. 
 
The city, once divided by demarcation lines, was opening up to its inhabitants. 
 
As someone who had grown up abroad, I was freely exploring the city with my camera, driven, it seems, by a genuine need to record everything I saw. 
 
When revisiting my archives, I noticed that my photographs and photograms unconsciously echoed one another: vegetation was everywhere, as were sunlight and strong shadows. Each series seemed to act as the negative of the other. 
 
For the Saradar Collection, I wanted to present this body of work in its archival condition—unframed individually—to preserve the collection’s cohesiveness and maintain the visual rhymes between images. This reflects how the images are stored in my studio. 
 
I aimed to stay true to the analog origins of the images, even though they have since been digitized and printed digitally. The boards can also be viewed as mental contact sheets, resembling an analog montage. 
 
They also reference the way I used to dry my prints outside the lab, with the display furniture playing a critical role in conceptualizing the project as an indivisible whole—a singular moment in my journey, a narrative. One unified block composed of distinct parts. 
 
The furniture itself references traditional archival cabinets. My idea was to ensure the project is always viewed as a cohesive whole, created at a specific time, and to preserve the meaningful connections between the images. 
 
The prints are presented on panels with matrices designed to accommodate various image formats, creating dialogues between images of different types and taken at different times. 
 
The goal is to present the project as a whole, without individual frames, to offer a “reading”—establishing a narrative or fluid associations between the images, as well as a rhythm that allows viewers to decode these connections, much like an analog contact sheet. 
 
In essence, it’s about generating a true "montage"—both in meaning and motifs—between these images, stemming from research conducted during this particular moment in my journey.”