Jean Boghossian brings his fire-based artistry to the fourth edition of Forever Is Now, Egypt’s landmark art exhibition at the Giza Pyramids, from October 24 to November 16, 2024. Under the patronage of Egypt’s Ministry of Culture, UNESCO, and other partners, the exhibition unites 12 global artists in a collective dialogue where tradition meets innovation, using the Pyramids as a bridge between ancient history and contemporary art.
Boghossian, an artist from Lebanon and Belgium, is celebrated for his mastery of fire as a medium, transforming canvases and sculptures with controlled burns. His work symbolises creation and destruction, echoing themes of resilience and rebirth at the Pyramids. Through these charred textures, Boghossian mirrors the permanence and vulnerability of both art and civilisation.
This year’s Forever Is Now features artists from diverse backgrounds—spanning the UK, Italy, South Korea, South Africa, Egypt, and beyond—each bringing a narrative that harmonises with the exhibition’s concept of artists as modern-day archaeologists. Participants use unconventional materials to uncover meaning in ordinary elements, much like an archaeological excavation. Highlights include works from Chris Levine, Ik-Joong Kang, and Shilo Shiv Suleman, among others, with pieces exploring connections between nature, history, and the cosmos.
Additionally, Forever Is Now.04 includes two AI-driven parallel projects: a Meta-supported installation by Egyptian-American designer Hassan Ragab and a film project by Saudi artist Daniah Al Saleh, each exploring cultural memory through technology. Nadine Abdel Ghaffar, founder of Art D’Égypte, emphasises this year’s expanded cultural dialogue, marking the first inclusion of artists from Asia to bridge new perspectives at one of the world’s most iconic sites.
Interview with Jean Boghossian
Your artwork Desert Waves for Art D’Egypte is situated near the pyramids, a site of immense historical significance. How did the location influence your vision for this piece?
I feel very honoured to present my work in such a remarkable setting, thanks to Nadine Abdel Ghaffar and the team at Art D’Egypte. When I envisioned this piece, I thought carefully about how it would fit with the majestic presence of the pyramids. There’s a dialogue between the work and these ancient structures, especially when the sculpture is lit at night. You see the light from the pyramids in the background and the light of Desert Waves in the foreground, and I think it creates a harmonious interaction.
In your collaboration with Gilles Libert for Desert Waves, how did you merge your artistic vision with his architectural approach to create a unified piece?
Gilles is a friend who offered me his technical expertise with metal, a material I’ve always wanted to work with. In my previous work as a jeweller, I experimented with metal on a smaller scale, using heat to bend it. When I began working with fire as an artist, it brought me back to metal, and I wanted to explore it in this larger context. In this work, our techniques interact—mine is more intense and raw, while his is softer. This contrast reflects the nature of waves, which can be both gentle and harsh.
Could you share how you first discovered the power of fire as an artistic medium and how it has shaped your journey as an artist?
My relationship with fire began somewhat by accident. One day, I was heating the chimney in my studio with wood, and I thought: What would happen if I took a blowtorch to the yellow paint on a canvas?
I tried it and saw the yellow change to grey, then brown, then black, even burning holes through the canvas. I was fascinated by what was happening both on the surface and underneath. That was the beginning of my journey with fire, and gradually, it became my primary medium. Since 2010, I’ve mostly used fire, although sometimes I bring painting or collage into my work. I’m very much an experimental artist, constantly exploring new techniques and materials to push my art further.
As someone whose work often reflects on the past, what role do you think art plays in preserving or interpreting historical memory?
Art is essential for preserving memory because it lasts through time. Civilisations come and go, but what remains is the art they leave behind. Monuments, artefacts, and other cultural creations give us insight into their values and way of life. Art connects people, creating dialogue and shared understanding across generations. When I look at the pyramids, I see how they’ve communicated Egypt’s history for thousands of years. In my own work, I see art as a way to reflect this legacy, preserving a piece of civilisation for future generations. Ultimately, art is the true history of the world.
Location: Pyramids of Giza, Cairo
Dates: October 24 to November 16, 2024
