Fares Thabet

Until a few years ago, I maintained a daily practice in ceramics — a ritual that allowed me to explore clay not only as a material, but as a surface for painting, composition, and visual rhythm. My relationship with ceramics has always been deeply pictorial. I approach it as I would a canvas: thinking not only in terms of volume and texture, but also in planes, colors, and the possibilities of two-dimensional expression. From this perspective, the idea of a ceramic fresco emerged quite naturally: to treat the wall itself as a blank canvas, gradually composing a landscape across it, one gesture at a time. This mural was born from observation, from the silent geometry of the desert.