Born in 1990 in Marrakech
Adil was drawn to the visual arts at an early age. At five, he reproduced images from his schoolbooks with chalk and slate. He discovered music, dance, and created in the moment, virtually automatically, inspired by is immediate environment. He studied drawing and painting technique at the Ecole des Beaux-Arts in Tetouan, and developed an interest in photography, video, and conceptual art. In the course of his research on the artists and authors who inspired him, he was intrigued by the premises of the Fluxus group, for the promotion of a democratised art free of bourgeois doctrine. Here he found the ease to create freely, and to pursue originality in his own visual and plastic arts practice. He appropriates materials and found objects from their common use, using them to give life to his concepts (posters, magazine pages, vinyl covers, etc.). His creative process becomes a back-and-forth between idea and the self-imposed result reflected, unexpectedly, in reality. Influenced also by the thoughts of Krishnamurti, Adil’s creative process is based upon what the thinker spoke of as “uninterrupted vigilance”. There exists only the present moment, the open consciousness, and the engagement of all the senses in the act of creation.
His adolescence was marked by a phase of withdrawal and introspection. In spite of the doubts and awkwardness associated with this age, Adil refused social conditioning. He observed and analysed, with a detached and surgical incisiveness, the impact of environment upon people – their faces, expressions, and behaviours. His observations brought him back to his own search for identity, like a mirror, or vector of self-awareness. He considered the innate qualities of human beings, those inscribed in memory and genetic make-up, as well as the effects of experience. Love, education, and values received by the individual during childhood constitute the necessary foundation to discover one’s true personality. And so, man builds his own personal mythology, and his experiences bear upon his behaviours in society. According to the philosopher Emmanuel Levinas, the face is the meeting with another: “To see the face of the other, is to speak of the world. To speak, is to share the world”. Strongly influenced by the author’s thought, Adil positions himself as an observer of man, and focuses his work on the relationship between the subject and others.