I thought the 487cm makes a difference.
These words that I am placing on this wall don’t necessarily inhabit (or fit) nor justify the intervention. This intervention is what it is. Somehow placing the text on this wall is a way to admit the existence of this wall.
We give order to space and it is time where a place negotiates its own existence. The dead tree leaves that each one can see while standing in what used to be an inside facing out, now are free to give a visit to this space. The passers-by might find a way to appropriate the echo in an invisible way. The space’s echo is in its void. The one entity will be transformed into different forms, in a way freeing the void from its proper dimension.
Pascal Hachem’s work is inspired by everyday life and tends to contextualize his way of thinking with the social and political situations in Beirut. The artist does not impose any set of rules upon himself, but rather he is prompted to create by a single impressionable moment. As a result, he has a varied catalogue of work using various mediums including his own body and common objects. Hachem’s work has been displayed in numerous solo exhibitions internationally including at the Selma Feriani Gallery in Sidi bou Said, Tunisia, Beirut Art Centre and the International Istanbul Theatre Festival. His work has also been shared in group shows at institutions such as the Mosaic Rooms in London, Gwangju Museum of Art in Gwangju, South Korea and the First Architecture Biennale in Rotterdam, Netherlands.