Mohamed Hafez never pictured himself as an artist until he was one. Hafez was born in Damascus, grew up in Saudi Arabia and went to school for architecture in America’s Midwest. After completing his education, Hafez wanted to return to Syria. However, in 2003, George W. Bush implemented the National Security Entry-Exit Registration System. NSEERS required that Muslim immigrants be interrogated and documented every time they left or returned to the U.S. This made it difficult for Hafez to return home, according to Hafez in his Zoom presentation, “Unpacked: Exploring Refugee Stories through Art,” on Wednesday night.
“Out of homesickness one night I started collecting some materials that I had collected because [as] architecture students we build a lot of models so [we] end up with a lot of scrap materials,” Hafez said. “And I remember this was the very first piece I did, one night I started working on this piece and I found it very therapeutic, cathartic and healing. Of course, I was too young and naive to understand therapeutic art. I was connecting to home and it passed time. I worked on it for twelve hours straight because I really enjoyed it. So I started making more, so I started developing this interest in architecture and art.”
At the start of his art career, Hafez only created his three-dimensional models of Damascus as a pastime while he worked at an architectural firm. His artwork is characterized by his experience growing up in Damascus. He described Damascus as having not only beautiful architecture, but also a mosque next to a synagogue, next to a church and an art gallery with nude sculptures that contained thousands of years of history.
“I was emotionally attached to this place that I was witnessing being blown out of existence in the Syrian world,” Hafez said. “I would come home from this busy day and I see images like this, seeing beautiful cities like Damascus, Aleppo being wiped out of existence … we all saw in the Syrian war there isn’t any shortage of blood. The atrocities … were sort of broadcasted right in front of our eyes 24/7, but for me … I was witnessing the atrocities as an architect, not only a Syrian.”













