Tarek Mawad is the visionary artist who has captivated the contemporary art scene by applying his diversified knowledge in sculpture, 3D mapping, lighting design, and projection mapping. His work merges art and technology in mesmerizing ways and showcases a profound exploration of light as a protagonist. On the pages of hube, Tarek’s collaboration with Damien Jalet resulted in a magical photoshoot that brought to life a strong artistic statement. Join us to gain insights into Tarek’s extraordinary journey, as we delve into the mind of this shining artist, looking into the secrets behind his creative process, unwavering motivation and bold vision for the future of art.
hube: How did you move from 3D mapping to photography? Have your past practices influenced what you’re doing now?
Tarek Mawad: I studied media art and design with the goal of becoming a 3D artist. I was drawn to a skill that would enable me to create my own world and express my creativity fully. Motion, specifically 3D animation and sculpting, fascinated me as it allowed me to observe and study various forms and shapes.
To bring my scenes to life, I had to build them from scratch and meticulously set the lighting. This required me to understand the behaviour of light. So, I would walk around the streets, observing how light bounced off buildings and trying to comprehend the physics of colour-bleeding, the difference between hard and soft light, and how light interacted with different textures, such as skin and other materials. Reproducing these physical aspects through 3D software helped me understand the behaviour of light and achieve realistic-looking 3D scenes.
Over time, I began to feel disconnected from reality somehow and wanted to work directly in nature and with humans. While being a 3D artist was fun, it often involved fixing bugs and spending long hours in front of a computer screen. I missed the tangible aspect of creating something with my hands. This led me to explore light installation and projection mapping.
Together with my former colleague Friedrich van Schoor, who introduced me to projection mapping, we started creating unique and well-known works in these fields, as they were not widely known techniques at the time. Equipped with a generator and necessary equipment, we spent six weeks in the forest, projecting light onto organic objects like leaves, fungi, and trees. Experiencing the light in real life and witnessing its transformative power was truly amazing. We documented our journey and created a film called Bioluminescent Forest which gained huge attention worldwide. We made another film called Lucid in Iceland, where we projected minimal light shapes onto the surreal landscape, breathing a futuristic and vibrant life into them.
I eventually decided to shift my focus to photography and film. It was an instinctive decision, driven by a belief in my potential. I collaborated with a model named Hanna Goldfisch, who is now my closest friend, combining precise projection mapping with analogue medium format film. This series sparked a trend on social media and gained significant attention.
Working with humans and exploring the depths of their psyche has always intrigued me. I enjoy creating genuine moments and capturing lasting memories. I love building universes around the unique faces and personas in front of my lens. In many ways, it’s a continuation of what I used to do in the realm of 3D, but now in the real world.
Authenticity and a deep connection are vital to me, which is why I rely on 100 percent focus and intuition in my work. Shooting with film cameras allows me to tell a much larger story about a moment, movement, and the connection between the subject and the artist behind the lens.
To summarise your question, my background with technical knowledge has shaped me into a multidisciplinary artist, constantly generating endless ideas and combinations through experiments with light, cameras, sculpture, nature, and other intriguing elements. However, I sometimes struggle to keep up with all the possibilities, which is why I am grateful to always have my sketchbook with me.
So, after more than 10 years of experimenting with different techniques, I can confidently say that it has been a worthwhile journey.
h: It seems like technology is moving faster than we think. If the future truly is digital, can you see yourself going back to your older practices?
TM: I constantly draw inspiration from my previous artistic endeavours, contemplating how I can blend different disciplines and exploring various techniques. For me, this is a creative playground, where I keep the fusion of photography and other mediums at the forefront of my mind.
By understanding both old and new techniques, I can unlock the door to a new art form that allows me to convey compelling and sophisticated stories. There are instances where I revisit old practices if they align with the ideas brewing in my mind. However, I could never envision myself working only as a 3D artist again.
As you mentioned, the future is advancing rapidly, with technology progressing even faster. This accelerated pace and our growing impatience have led to a culture of fast consumption, leaving less room for deep analysis and contemplation.
Another aspect that has always troubled me is when things only exist within a digital display or in conjunction with a screen. That’s why I have a profound love for film photography. The negative itself serves as both the evidence and the embodiment of a real, tangible image. It can be printed, touched, and experienced. Its purity, authenticity, and inherent logic resonate deeply with me.
h: What does your creative process look like? Do you develop a concept first, or do you visualise the work and create a concept from there?
TM: I am fascinated by people, I can observe people for hours on end—how they behave, how light caresses their faces, the intricacies of their expressions, the lines that form with every mimic and wrinkle. I observe their actions, their communication, and especially the unspoken messages hidden beneath their words. This visual exploration becomes a portal for me, a gateway to visualise the unsaid.
As a visual person, I have a clear vision in my mind. I often spend time alone, listening to music, and pondering creative questions. For instance: What happens if I give a person with a different material (for example rubber) or change the laws of gravity? How would that transform their surroundings and affect their daily life? Very often, I am projecting my own emotions into stories.
Always looking for new challenges, these questions fuel my imagination, filling my mind with ideas. In my imagination, there are no limitations. I never neglect my visions, but accept and trust them, knowing that they are authentic and potential sources of inspiration for my photography and filmmaking. I make sure to sketch or write them down.
For my personal projects, I carefully develop ideas and collaborate with the right team and talents who can transform ideas in the best way. Or, I shape the concept around the person I want to photograph, taking on the role of a director rather than just a photographer. Each project is unique, tailored to the individual. It’s always a collaboration.
Damien Jalet [featured in issue two of hube is a truly extraordinary artist. I was thrilled to photograph him because I admire his work and feel a deep connection to it. He has a talent for transforming dancers into otherworldly beings, organic but almost inhuman, as well as using material, light, and shadow in mesmerising ways to tell stories through performance and movement.
My goal wasn’t just to capture him through my lens but to create timeless and contemporary images that capture his essence. I wanted to blend powerful portraits with glimpses of his world. The images needed to be simple yet profound, revealing his artistic spirit, his captivating face, and his cold blue eyes.
I saw many commonalities between us. His sculptural work resonated with my own background, and his captivating movements aligned with my approach to capturing motion. Our artistry and the layers of meaning in our work were a perfect match for creating compelling imagery. It was a clear natural vision for me, and when I heard that the theme was illusion, it felt like a dream come true. And seeing the master of his own creations performing in front of my lens was a hypnotic and incredible feeling.
h: What is it about movement that fascinates you? What is the connection between your art and boxing, and why are you so passionate about both of these forms of expression?
TM: It is the countless possibilities of movement that I love. The body and movement of muscles is just a tiny part of it. When it comes to photography, I love how movement can be captured as a painting. It instantly tells a story and sparks curiosity. Unlike film, where the answer is immediate, photography allows for playfulness. It engages viewers’ minds, offering hints of what is to come. This makes the audience question, pause, and think. I enjoy creating a space that breaks away from fast consumption. It brings viewers into the present without them realising.
I travelled to Cuba with the intention of documenting the vibrant boxing scene there. Cuban boxers are renowned worldwide for their exceptional skills. Boxing, much like chess, is a sport that requires intelligence. You need to understand your capabilities and be intimately aware of your physicality. It’s about recognising when you’re tired and managing your energy levels effectively. It’s a beautiful and intelligent sport that only true boxing enthusiasts can fully understand. Everything happens in a split second, and that’s what makes it so captivating.
I trained for three years back in Germany, where the style is rigid and focused on powerful strikes. However, when I started sparring in Cuba, it completely frustrated me. I was constantly being outmanoeuvred by my Cuban sparring partners, who were always smiling and laughing. I was filled with anger and confusion. Then they told me, “Relax, this is Cuba. Forget everything you learned in Germany. Just have fun and dance.” That’s when it clicked for me.
I began approaching boxing from a completely different perspective, emphasising footwork and movement. It was incredible to realise how closely boxing is related to dancing. The subtle foot movements formed the foundation, and within those dance-like motions, I discovered how to incorporate my arms seamlessly. Suddenly, jabs and punches flowed naturally within the dance. It was a revelation that highlighted the incredible connection between the two disciplines and how close it is to art.
h: Who is your favourite boxer?
TM: My favourite boxers of all time are Muhammad Ali and Mike Tyson. In the modern era, Vasyl Lomachenko stands out with his incredible skills. He’s a true technical genius, and watching him in the ring is like witnessing a masterful chess game.
h: What trends in photography are you interested in at the moment? Is there anything new that you’re looking to explore?
TM: I’ve never been one to follow trends. I place my trust in my instincts, abilities, and the genuine emotions that drive me. Creating meaningful connections and capturing authentic moments are what fuels my passion. While trends may come and go, I strive to produce work that blends modernity and timelessness. I don’t want to regret or feel embarrassed about my creations later on because they were influenced by fleeting trends. Instead, my goal is to build a body of work that I can proudly reflect upon at the age of 80, knowing that it still holds its charm and appeal.
I’m excited to dive into the world of large format cameras and explore their technical intricacies. It’s a fascinating path that allows me to create narratives that truly resonate and leave a lasting impact.
h: What projects are you currently working on?
TM: Currently, I have a few projects in progress. Firstly, I’m finishing a film that I started two years ago, along with new editorial concepts. However, the main focus of my work right now is a new project that combines art, fashion and storytelling all while utilising my technical background. This project revolves around double and multiple exposures, but with a twist that sets it apart from previous approaches. I strive to push the boundaries of these techniques in a unique and innovative way without relying on Photoshop. Instead, I aim to achieve these effects directly with the camera, emphasising precision and control.
By seamlessly blending fashion, craftsmanship, storytelling, and artistry, I aim to create images that captivate viewers on multiple levels. I believe that the combination of these elements is crucial in producing visually stunning and thought-provoking work.
It’s about going beyond the surface and conveying a deeper narrative through the imagery.
In an age where fast consumption prevails, I want to challenge the notion that everything has been done before. I firmly believe that there are still possibilities waiting to be discovered. I refuse to settle for the way things are and the comfort of sticking to the usual. Instead, I embrace the exploration of new techniques and ideas, always striving to push the boundaries of what is considered possible.
Creating each image is a process that requires time and patience. It’s not uncommon for a single image to take me 15—30 minutes or more, as I precisely craft every detail. I understand that one small mistake can ruin the entire image, so I have to be 100% focused to ensure every aspect, both technically and conceptually, aligns with the story I want to tell.
All photography by TAREK MAWAD
The collaboration between Tarek and Damien features in the second issue of hube magazine, which is now on sale internationally. You can purchase all issues of hube here.
