Sculptures made from recycled bottles and packaging by Paulette Touma Eid
BEIRUT — In the bustling heart of Hamra, amid the chaos of urban life and the ceaseless hum of traffic, the Ahla Fawda studio offers a sanctuary for people of all ages to reflect on their environment. Perched above the former site of the iconic Horseshoe Cafe, the exhibition ‘Trashed and Treasured’ upholds the venue’s legacy as a hub for artistic ideas. As part of Beirut Art Days, the art exhibited here goes beyond mere expression; it serves as a dynamic catalyst for addressing Lebanon’s urgent environmental challenges.
In a country where crises abound, political and economic turmoil often overshadow the climate crisis. Yet the NGO Ahla Fawda is giving a platform to young Lebanese artists who recognize the urgency and interconnectedness of environmental issues to politics in Lebanon.
Reimagining materials and spaces
Rim Ibrahim, the visionary behind the exhibition’s concept, transforms non-decomposable materials like styrofoam and plastic bottles into textured, three-dimensional paintings. Her work challenges perceptions of plastic waste, demonstrating the potential for beauty in what is often deemed useless. The grainy paintwork and unusual textures of her materials grant her paintings depth and a more organic effect.
She invites people to go up and touch her paintings to engage with them. They’re often surprised by what they see, she said. Many can’t believe that the materials she used are recycled.
‘Out’ by Rim Ibrahim (Photo: courtesy of Rim Ibrahim)
Her painting, titled “Out,” depicts a wave breaking out of the frame of the canvas, splashing out in all directions in a testament to the power of the ocean. It is inspired by a visit to the beach in Sour, which struck her with its cleanliness and beauty.
Similarly, Jad Kabbani’s work takes seemingly mundane objects found in what he calls the “never-ending construction site” of Beirut and turns them into art that serves both an aesthetic and functional purpose. His innovative lamps, crafted from PVC pipes and flexible tubing, are inspired by the idea of taking an object and subverting its function for a totally different purpose.
Kabbani’s art is a reflection of the Lebanese psyche, he explains. “You can find anything and create everything from anything. My message is keep trying.”
‘Construction Debris’ by Jad Kabbani
Paulette Touma Eid is an architect with an eclectic eye for transforming everyday objects like tin cans and plastic bottles into captivating sculptures. Her work challenges traditional notions of art, drawing inspiration from pop art as well as from deconstructivist architects like Zaha Hadid and Frank Gehry, whose designs favored fragmentation over conformity.
Head made of Pepsi cans by Paulette Touma Eid (Photo: courtesy of the artist)
By incorporating recognizable logos and nostalgic brands into her structures, she critiques consumption habits and reframes the concept of waste, while at the same time celebrating the iconic packaging of beloved brands like Beirut Beer and Tarboush, which evoke memories of childhood and engage people on an emotional level.
The speed at which brands change their design means that “the art is already vintage,” by the time a sculpture is completed, Eid notes.
She believes that art made from recycled materials is gaining appeal as people increasingly seek unique and meaningful pieces. Since she began her work in 2016, Eid has observed significant progress in recycling efforts within the country, reflecting what she believes is a broader cultural shift towards sustainability and a deeper appreciation for creative reuse.
Bridging urban and rural
Tamara Nasr, an architect and nature enthusiast, delves into the intersection of agriculture and urban development with her intricate drawing "Eroding Landscapes." The detailed landscape depicts urban encroachment onto the Lebanese countryside and was created in parallel to her university thesis project, which envisioned multifunctional green spaces that can yield crops, create jobs, and offer educational and recreational opportunities.
‘Eroding Landscapes’ by Tamara Nasar (Photo: courtesy of Tamara Nasr)
The piece also reflects the common desire among Beirutis to leave the city every weekend. Nasr challenges viewers to rethink the rigid divide between the city and the countryside, proposing harmonious alternatives such as the potential for productive green spaces within urban areas.
Romy Matar’s art also captures this intersection of urban chaos and rural serenity, illustrating how these worlds collide and coexist in Lebanon. Her background in graffiti is visible in her graphic posters and vibrant color palette, which she says provokes the viewer to “hear the honking on the streets.” At the same time, her exhibited poster focuses on the reverence for nature and Lebanon’s olive trees — a symbol of both environmental and cultural heritage.
Digitally printed poster by Romy Matar
This poster was created in response to the ongoing “eco-war” in the country, encapsulated by the slogan, “You’re fighting over the wrong oil.” It highlights the irony of battling over resources while neglecting the preservation of nature itself. This symbolism is deeply personal for Matar, whose father sells olive oil from southern Lebanon at his shop in Beirut, and whose friend's olive grove in the south was decimated by Israeli bombardment after Oct. 7.
Since fighting began, Israeli munitions have burned 17 million square meters of land in southern Lebanon, exacerbating the environmental crisis.
Art and activism
Marie Alice’s collection of plastic tear gas shells, collected from the 2019 revolution and painted with images of hope and peace, transforms symbols of conflict into messages of resilience. Influenced by both impressionism and street art, her pieces juxtapose beauty and violence in a striking manner. It was following the thawra, around the time of Valentine’s Day, that she began painting roses on the canisters, captioning her creations with the poignant line, “Bring tears to your lover’s eyes.”
‘Tear Gas’ by Marie-Alice
The use of recycled materials in her work addresses her internal conflict as an environmentalist within an industry often marked by a significant ecological footprint. Initially uncertain about the purpose of collecting the canisters, she ultimately decided to repurpose them to memorialize the pivotal moment in history.
"Art has existed since the beginning of humanity," she reflects, emphasizing its role in documenting history, much like the cave paintings that inform our understanding of early human life.
At this tumultuous time in Lebanon’s history, the artwork on display at Ahla Fawda serves as a time capsule, preserving not just the country’s trashed materials but also the memories of current events and their ecological effects. These young artists both chronicle the present and offer creative visions for a more sustainable future.
