Thirty-five photographs taken as Khoury toured the three cities reveal the artist's focus on architecture and show something of the immense creativity that can be found in building designs, both modern and contemporary.
Some viewers may think anyone can take photographs of buildings. They're not wrong there. However, Khoury differentiates himself from any amateur artist by his creative use of perspective, color and angle. The buildings are not objects relegated to the background of daily life, but have been transformed into the subjects, taking on lives of their own when glimpsed through Khoury's lenses.
Graffiti – an art form often dismissed as vandalism – forms an integral part of Khoury's cityscapes, and plays a major role in bringing character to the buildings' faÇades.
One of Khoury's works, an eye-catching base of immaculate white punctuated by strokes of electric blue paint, resembles an abstract painting at first glance. The viewer is reminded of Khoury's focus on architecture only by the little window just visible in the upper right-hand corner.
Another of his photographs focuses on two parts of the same building. Shot from the bottom up, the curvy architecture of the edifice, captured from Khoury's cunning perspective, creates the impression that the building is protruding from the flat surface of the photograph.
The images shot in
The bustling neighborhood full of cosmopolitan locals and tourists is not Khoury's focus, as it usually is when someone visits America's party town. Here too, buildings are the photographer's muses.
Khoury's photographs are the fruits of an end-of-year project that he completed when studying photography at USEK. Khoury's refreshing visions invite his viewers to reflect on the architectural structures that surround us all without acknowledgment – whether in the U.S. or elsewhere in the world.
Although traditional houses and buildings around the world are being torn down to make way for contemporary edifices, this process should not always be seen as a catastrophe, Khoury's photographs seem to say, but as means welcoming and immersing ourselves in the positive aspects of modernization.
The same can be said of his photographs of
Beauty can be seen in globalization. It can be deciphered in skyscrapers. This is what Khoury is trying to show us in the humorously named "Still Image Creativity of Indefinite Superstructures."
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