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to speak with the participants about how they wish represent the best in themselves, including their preferences for background, pose and colours. In his portraits, Kamel interprets these individual desires while attempting to create photographs that are visually arresting.
In this, Kamel succeeds. When walking into the exhibition, the viewer is first met by a large installation of light bulbs mounted on wood in the shape of the Arabic word for star. The rest of the collection consists of over twenty large, highly-stylised portraits with a different individual as the focal point. The colours are magnificent and bright in every portrait, but each individual is strikingly unique in style and pose. One depicts a young man in knock-off designer clothes against the backdrop of rugged mountains, while another depicts an elderly woman in her favourite brown higab surrounded by abstract shapes.
The space itself is perhaps a little too cramped to do Kamel’s collection justice. The tiny gallery is located down a narrow alleyway off of Champollion Street and is not much larger than an apartment.
Although the colours are bright and most of the subjects are smiling, there is something definitively and purposefully haunting about Local Star. Both the subject matter and the visual pieces themselves are toying with the concept of reality. The sense that all of the subjects are trying too hard to represent themselves in highly unrealistic manors is palpable and makes the viewer somewhat uncomfortable. The intensity of each subject’s eyes, most of which are making direct eye contact with the viewer, is also disconcerting. As viewers of unrealistic ideals of others’; we are left to question our own connection or disconnection from reality and the manner in which we choose to represent ourselves.