time, narrative and photography - youssef
  In Youssef's self-portrait he took a picture of the keys to his motorbike and a cinema ticket, symbols of his favorite hobbies. He is shown through the flash of the camera, a clever way of getting around this exercise's ban on the human form.
Youssef was forced to leave Naher al Bared camp when the fighting between Fath al Islam and the Lebanese army became unbearable. He left behind his father's grave in Naher al Bared, and is haunted by the thoughts of what might have happened to the cemetery during the Lebanese army's incessant shelling. Youssef's story unfolded as he showed his photographs to the group and explained them.
We tried to impress upon the participants the need for the photographs to speak for themselves and to not rely on personal explanation. Throughout the workshop Fadi and I had spoken to the participants about the need to always listen and not speak about their photographs before others had commented. By this exercise, we intended to foster discussions about art, ownership and meaning. Once a photograph is taken and circulates the photographer cannot impose its meaning and deny the viewer's interpretations. It was difficult for Youssef to allow his pictures the independence to be open to different interpretations and meanings.
Youssef's photographs on "loss" document the personal loss of his father, represented by mementos his father had presented to him throughout the years. In the past, the flower he presented to his son was fresh. In the present only a petal of it remains, pressed against the pages of a notebook reminding Youssef of his father's dying wish that he continue his education. In the future he may lose the flower, but he will not forget its significance.
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