From the Daily Star, November 2003

It is rare to see an exhibit such as Ex Nihilo in Lebanon, for the simple reason that the field of industrial design, that is behind the objects presented, is unexistent in the country outside of the efforts of individuals such as Joseph El Khoury.

An interior architect by profession, the quiet yet determined 32-year-old began to design objects on the side around 12 years ago. He now operates an artistic workshop in parallel to his architecture office, and his style has evolved from an ethnic feel using natural materials to shapes that are purified, more sober and mature.

"The title of the exhibit refers to the creation of something from scratch", explains El Khoury. "This is the situation in Lebanon: we have no industry and no industrial design. Designers leaning towards this domain are forced into the artisanal or the artistic." El Khoury wishes to show that things can be accomplished in the country, in limited series that observe a certain standing and finish while remaining affordable. In this spirit all El Khoury's creations are subcontracted in Lebanon, before he works the finish himself. With only 3-4 months to prepare this exhibit, he's had to reckon with the Lebanese way of doing things: although the last pieces were ordered a month before the opening, only some of them were finished on time, and then only on the day itself! "I picked them up and brought them straight to the exhibition space, fresh from the oven!" he chuckles.

It is difficult not to be impressed by the quality of the resulting products however, not to mention the creativity of the design itself. El Khoury defines it: "Design is a function that may already exist but that we recreate. It's an original aesthetism." Burning incense, tribal music and posted quotations draw the visitor into a space where groups of products present themselves as an eloquent crowd. "These objects are neither sculptures, nor handicrafts", El Khoury emphasizes. "They are series, sometimes numbered, without being consumer products." Incense burners, candleholders, vases, lamps, salt and pepper sets, tables  one finds a vast array of daily or not-so-daily objects, reinterpreted. Yet behind the aesthetics, endowed with impeccable functionality by the architect's mind that designed them, several messages are meant to be conveyed.

The circle for instance is a recurring shape among the products on display. El Khoury explains that geometrically speaking the circle is perfect -- pure, compact, feminine in a way, with a voice of its own  but he also points out that squares and rectangles are equally present. One candleholder titled Sempre ("always" in Italian) features a large, vertical, circular base from which a smaller circle is cut out. "It is a reference to Nietszche's "eternal return of the same" ", explains the designer, who has also studied philosophy. "Everything in daily life returns even if we're not necessarily aware of it. The circular opening could be an escape route..."

Another recurrent motif is that of coloured glass that he combines with light and opposes to dark materials, giving the full vibrancy of the transparent colours. The taste for this effect he connects to the Lebanese's dire need to experience fresh air, nature and open spaces again, to eliminate all this concrete -- To which he adds: "Transparency is a very important concept in my work: it is a message that may be misunderstood, but that needs to be worked on in our lives and relationships."

El Khoury's methodology when he designs his products is not that of an artist, but of an architect who has to take everything into consideration: concept, aesthetics, architectural norms, balance, and function. Once inspired to design an object – whether by a book, a movie, a discussion or nothing at all – he goes through much study and sketching to arrive at a final model. "I spend my time drawing", he says. "I keep a sketchbook on me at all times, and I take advantage of any free moment, even in a traffic jams, to sketch my ideas."

Extended stays in Italy and yearly trips to professional salons in Europe ensure that he remains constantly up-to-date as to new materials, techniques and tendencies. This opening has not only indirectly influenced his work, it also made him more vividly aware of the fact most Lebanese are just not aware of the industrial design domain. "As long as we didn't know what a colour TV was, we were very happy with black and white," He illustrates. "This is especially true in Lebanon where there is no industrial design and therefore no competition in this area." El Khoury bemoans the lack of aesthetic education, and can't stress enough the importance to sensibilise people to design. "The purpose of my work is not entirely lucrative: we have to begin somewhere." For this El Khoury strongly encourages young designers interested in this field, and warns that beginnings are always difficult, but the situation is far less bleak now than it was 10 years ago.

Joseph El Khoury's Website: www.exnihilo-design.com

Article by Joumana Medlej