Loup es-tu là ?, 2024

The theme of the mask and totemic figures constitutes one of the foundations of Tarek’s artistic universe. For over fifteen years, the artist has explored, through painting, comics, and muralism, the notions of identity, transformation, being, and appearance. The mask occupies a central place in his work: it reveals as much as it conceals, protects as much as it transforms. A universal symbol, it questions the multiple facets of human identity, the roles that everyone assumes, as well as the sometimes blurred boundaries between appearance and reality.

This research took on a new dimension during his stay in Cameroon in 2017, where he created several murals in schools under the auspices of the Ministry of Tourism and shared his experience with local artists. This immersion into the heart of the country’s traditional cultures also allowed him to discover and acquire rare masks, notably from Pygmy communities, as well as exceptional pieces stemming from syncretic traditions, where local beliefs interact with Christian influences introduced throughout history. These objects, bearers of memory, spirituality, and collective narratives, have profoundly marked his imagination and lastingly nourished his work.

This fascination with totemic figures is not limited to easel painting. Over the years, Tarek has transposed this universe into the public space through numerous monumental frescoes. Painted totems have thus emerged in Brooklyn in the United States, in Kribi in Cameroon, as well as in many French cities. His mural work has also expanded to Germany, notably in Berlin and Hamburg, where these protective and symbolic figures dialogue with the urban architecture and the tragic history of these two cities. These large-scale interventions constitute a natural extension of his artistic research and testify to his desire to embed these universal forms within contemporary contexts.