Mohammad Sharaf has created a book experience that consists of two volumes and more than 1,200 photographs taken over 20 years. Each pair comes in a numbered box, and the first edition is limited to 250 copies.
Sharaf, a graduate of SVA MFA Designer as Entrepreneur, has been photographing abandoned places in Kuwait since 2002 using various types of cameras (film, digital and mobile phones). The sheer volume of photographs contained in the collection is a relic of everyday life, “creating an imaginary post-apocalyptic documentation of places once occupied by people, animals and plants,” he says.
Each book in AFTER THE END is made up of 684 pages and divided into chapters based on the different locations in which the photographs were taken. Within these chapters are occasional reflections that were written in response to the photographs by 18 contributors who come from diverse backgrounds.
In this conversation, Sharaf tells us about his method and reasoning.
What was the inspiration behind this book-as-object?
To be frank, I can’t think of one sort of inspiration. It is an accumulation of various experiences and practices that happened throughout the years. I’ve been photographing abandoned places in Kuwait since 2002 using various types of cameras (film, digital and mobile phones). Not really for any particular reason but my obsession with details, grids, lines, frames and overlooked things.
As a designer and typographer, I have been experimenting with words, imagery and the relationship between them. Besides my client-based work, I’ve been producing “posters” that challenge and explore the relationship between word and image. In some cases, they support each other; in other instances they contradict each other—at least at first sight.
After using typography as one of my main tools on digital and print media, I’ve moved into containers/objects where these “words” live. One of these main containers/objects is the book. For example, one of my previous artworks is “The Book.” The artwork is a metaphoric installation of how a sacred text—the Kuwaiti Constitution—is preserved.
Then in 2018, I created “The Cemetery of Banned Books in Kuwait,” a symbolic piece of protest and public art intervention. It was conceptualized on the sidelines of Kuwait’s International Book Fair. A book is one of the most common means to encapsulate stories, and if I was to describe AFTER THE END in one word, I would say it is a story, or multiple stories.
What does that title refer to?
AFTER THE END not only serves as the title of the book but also describes its content and creation process. It signifies the conclusion of buildings, eras, experiences, inhabitance and history.
There are many physical aspects to this book. Is that modernity at work?
I believe that description fits, but I see it more as a reflection of meticulous craft and deliberate design choices. Every aspect of AFTER THE END was carefully considered as a design decision. Imagine receiving the box with the two books inside: You’ll immediately sense the rawness of the object, accompanied by the scent of brown cardboard infused with silkscreen inks. Upon opening it, you’re greeted by two faceless block books. They resemble bricks in appearance and feel. As you pick one up and begin to flip through the pages, you’ll notice the texture, the color and the binding. Then, you will see the photos, presented in three forms. The majority adhere to a vertical full HD ratio (16:9), akin to the way we view stories on our phones nowadays. Additionally, there are squares and full spreads interspersed throughout. Each chapter, sequence and spread was meticulously crafted to convey its own narrative.
Within the book’s chapters, you’ll encounter occasional textual reflections penned by 18 contributors from diverse backgrounds, responding to the photographs. This serves as an invitation for readers to delve into others’ perceptions of the book’s content and to experience their own interpretations.
Titled in both English and Arabic, the books may be browsed from left to right, right to left, or from anywhere in between. This deliberate design makes the books seem almost unprecious, much like the abandoned lives scattered throughout the photographs.
Where does your interest in this theme of destruction come from?
I believe the essence lies not in mere destruction but in the allure of abandoned and overlooked places. Naturally, many abandoned locations surrender to decay and ruin over time due to neglect. However, a significant portion of the book’s content focuses on the aftermath of the second Gulf War, when Iraq invaded Kuwait.
Moreover, I believe my background as a graphic designer (and because I learned photography in architecture school) has profoundly influenced my photographic work. The influence is evident in the book through the attention to grid lines, framing, colors and form. The contrast between the structured elements of buildings and rooms, juxtaposed with scattered articles and objects, creates an intriguing narrative. Each detail within these photographs, whether viewed individually or as a whole, tells a story, or multiple stories.
This looks and feels like a well-put-together book. Is it all handmade?
A considerable portion of the book has been handcrafted. To be candid, we lack the luxury of utilizing advanced artistic techniques and resources for printing and binding here in Kuwait. I was adamant about producing the entire book and its box here in Kuwait exactly as I envisioned it, and I am pretty happy with the results.
There is something eerie and ominous about the content.
The sheer volume of photographs contained in the book becomes an interesting relic of everyday life, creating an imaginary post-apocalyptic documentation of places once occupied by people, animals and plants.
Is there a specific audience you are aiming at?
It doesn’t target a specific audience. However, I believe certain people may find it more captivating and engaging than others. It particularly resonates with architects, photographers and designers. Additionally, it appeals to those who have personally experienced or are experiencing forms of destruction, war, immigration or gentrification.
