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The hand crafts of Morocco are an ancient and endangered art, and we want to see these craftsmen and women flourish in their work and be honored for their skill.   Tetouan has its own artisans producing work unique to this region in its style and quality, and this tour takes you into a number of their workshops, as well as Dar Sanaa, the Royal Artisan School of Tetouan and the local artisan co-op. You will have the opportunity to interact with the artisans, ask them questions and watch them work.

Tetouan has its own artisans producing work unique to this region in its style and quality. The objects made by hand here in Tetouan are still the objects that the people buy for use in their lives, though, with the growth of industry and the increase of cheaper-made products from further east, the trend is moving away from the Moroccan handcrafted items. The expert or “ma’alum” in each area of handiwork can still be found at work in the various sectors of the medina, the artisan school, and the artisan co-op, where their workshops still buzz with activity. 

Geometric Design Drawing – Every wood carver, plaster carver, metalsmith, and painter must begin with the essentials of geometric design developed by the Arab geniuses of long ago. These geometrically complex patterns display a mathematical elegance that is best appreciated in the process of constructing them. Each shape in the pattern has a name and, like good math, is repeatable ad infinitum, depending on the space being filled by the pattern. Using only a straightedge and compass, the artisans construct a basic radial design on which the intricate patterns are built. For our artists in residence, we offer introductory lessons in creating these patterns, taught by a young wood carver who is a master at the art of these designs.

Leather work – Morocco is famous for its soft, beautifully tanned leather goods, from shoes to handbags, from clothing to saddles. Much of the uniqueness comes in the creative embossing and embroidering of surfaces done in the countless small shops found in the medina and Artisan Co-operative Center. Using handmade tools passed down from generations, these craftsmen give the raw leather or “jeld“, prepared in national tanneries, texture and design that carries the culture of Morocco into the hands of local and tourist alike. This workshop will include using these tools yourself, with the guidance of one of these masters, to cut, score, emboss, pierce and embellish the surface of leather just like they have been doing for centuries. We have a small selection of leather working tools in the studios and we have a source for more if you are interested in acquiring some.

Plaster carving – Whether you are seeing the intricate relief surface of a plaster ceiling or the delicately pierced plaster of a window screen or lamp, the mesmerizing beauty of carved plaster is in its play with light. Like a geometric drawing upon a white sheet of paper turned 3-D, the small precise cuts of the carver’s chisel pull and push the geometry into depth, shadow and highlight. This opportunity will include hands-on use of the tools to carve your own plaster or “gubz” surface in the Artisan School plaster classroom.

Decorative Painting – There is a continuity of surface design, “zouwaq” in Arabic, that has experienced only minor modernizing changes over the last century. With everything from layered geometric patterns to organic vines and flourishes, the painters of Morocco have decorated primarily wooden surfaces of furniture, ceilings, doors and everyday household objects. Using paper stencils “pounced” with plaster dust to transfer the image, artists then use hand-tied horsehair brushes to carefully fill in the fine details of color. This workshop will take place in the Artisan School classroom among 1st to 3rd year students, and will include opportunities to stencil and paint actual wooden objects under the guidance of the master teacher.

Zelij tile work – The ancient art of zelij is essentially a surface design art using small hand cut tile shapes to cover architectural and other solid surfaces with intricate geometric designs. The zelij of Tetouan differs from that of Fes and other cities to the south in that each shape is hand cut in leatherhard clay before it is fired and glazed. In Fes, zelij tiles are shaped with a small adz-like tool from glazed squares, resulting in a sharper glaze edge, while in Tetouan the glaze has a rounded profile, much like a meniscus of liquid, so that they appear and feel softer to the touch. In the Tetouani zelij workshop the worker rolls consistent slabs and then uses patterns to knife-cut the hundreds of appropriate pieces for a given design composition.

Embroidery – Again, we see a difference in northern and southern embroidery styles, with Tetouani embroidery or “Turz” revealing large flowerlike and geometric shapes of solid color. “Turz Fessi” on the other hand consists primarily of small stitches, more linear in character, that are identical on both sides of the fabric. Both styles of fabric embellishment are characterized by precision needlework and generations of form being passed down. Everything from tablecloths to wedding gowns and pillows are adorned with this artisanry. Participation in this workshop will require as much patience and focused eyesight as any other Moroccan craft, if not more, but will result in work unmatched in beauty and with connection to artisans long ago.

Wood carving – The sweet scent of pine and cedar mixes with the sounds of chisel and mallet in the workshop where the “najar” (carpenter) or “n’hat” (carver) shape the surface of doors and boxes with geometric patterns. It is all about perfectly sharpened steel in this realm, where grain and wood strength submit like soap before carefully angled tools, and mere planks become gorgeously textured architectural accents. Participants in this workshop will have the opportunity to try scroll saw piercing and chisel carving in wood under the teaching of master carpenters and even their students.

Brass embossing/chasing – Geometric patterns and beautifully scrolled arabesques and leaves emerge from beneath the master’s chisels as the mesmerizing “tink, tink, tink” follows his hammer across the sheet metal. Plates, frames, lamps and numerous other decorative objects are the goal as bright metals are given texture and form.

Shell & Metal Inlay – Small hammers, a grinder and fine hand-ground blades are the tools of the “ma’alum s’daf” who embellishes mahogany wood boxes, furniture and household objects with silver and mother of pearl. Every line is carved before strips of metal are carefully tapped in, and every shape is painstakingly carved out to receive its perfectly shaped bit of shell. The completed work is then scraped and sanded flush with the wood surface, to reveal the brightness of silver and opalescence of shell. This opportunity is for the artist with good eyesight and a delight in detailed embellishment.

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Her studio is in a converted old church that was originally built in 1908. Florence and Noutd (a musician and her partner since 1982) purchased the little church in 1999 and began the 21 year process of renovating it and transforming it into an art studio, a music studio and a living space. They spent years camping in the church when they first began restoring it but now it is a vibrant space for art and music. Over the years the church windows, altar, frescos and ceiling had been stripped, which was a shame. When they took possession of it, they were able to transform it into a fusion of historic architecture and modern Dutch design, infused with colors and accents of Morocco.

Florence has a passion for color in her painting, drawing, printmaking, photography, and sculpture. During this pandemic, she herself came down with Covid19, and has been learning the balance between rest for recovery, and time for art and creative renewal. She has learned to go to her ‘inner world’ and not to be afraid of the silence and emptiness and quarantine… “to leave much more rest and to ‘turn off’ the outside world as much as possible”.

Even while she has been recovering from Covid19, she has continued to find ways to stay grounded –  spending time in nature, doing Tai-Chi in her garden, connecting with other artists online,   reading art books and art magazines, and learning Monotype and Frottage printing in online workshops.

Florence has also been busy in the studio, working on a new series of 16 paintings on linen, entitle Micro Org, continuing several sculpture projects casting in bronze and glass, and exploring new techniques in printmaking.

Her joy and passion for art, life and color are contagious. She has inspired many other artists during her years as an art educator and practicing artist, and it has been a delight to follow her story!

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Emerging Moroccan artists, particularly art students in their 4th year, or recent graduates (from the National Fine Arts Institute in Tetouan or the School of Fine Arts in Casablanca) are invited to apply for a three-week Art Residency at Green Olive Arts this Fall! 

There are two different residencies to apply for – either September 12 – October 1 or October 3 – 22, 2022. A grant (bourse) is available which would cover the majority of the residency cost.

The residency includes:

• High quality shared studio space and furniture
• Interaction with other visiting creatives from around the world
• Staff available on site to help facilitate creative production
• Basic tools, easels, wifi, storage, and online promotion.
• A concluding Open Studios/Exhibition event to share your work with the community.

With the grant, the cost of the full 3-week residency will be only 200 DH. If accepted, artists must pay a 200 DH advance September 6th, 2022 to secure their space in the residency.

Artists of all mediums may apply – drawing, painting, sculpture, film, design, photography, music, etc. We only require that applicants have basic English skills to participate in this residency. To be considered, you must complete the Moroccan application (not our regular application), including a written proposal of the project they intend to work on during the residency, an artist statement, a CV and a portfolio of recent works. Our selection process also includes a brief interview (in person, by phone or by Zoom) before a final decision is made.

Apply Today!

The deadline to apply is August 28th, 2022

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In this interview with Pakistani miniature painter ARTIST you can hear her wisdom on caring for her soul and studio at home during confinement. Alina’s work pulls together meaning and symbol in finely brushed drawings and paintings. She was part of the first Convergence residency in 2016 and has continued to travel as artist since then. This post is part of a series of interviews with former artists in residence at Green Olive Arts asking how this season of social distancing and postponed cultural mobility has impacted them.

Green Olive Arts AiR Interview with Artist Name

How have you had to flex or pivot your art practice in this unprecedented season of home confinement? What are you currently working on in your studio at home?

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What does creative community and/or social sanity look like for you right now? How are you staying connected and grounded?

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What insights about creativity in a time of crisis can you share with other artists? What have you been learning?

Artist’s website: www.jeffmcrobbie.com   …  and Instagram: @jeffmcrobbieart

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In this interview, painter and screenwriter Mark Lesser talks about pursuing new ideas & taking risks in this unique season. Mark was part of our second annual Convergence residency in 2017 and has remained in close contact with a number of the artists from that 4 week creative community. This post is part of a series of interviews with former artists in residence at Green Olive Arts asking how this season of social distancing and postponed cultural mobility has impacted them.

Green Olive Arts AiR Interview with Artist Name

Mark, how have you had to flex or pivot your art practice in this unprecedented season of home confinement? What are you currently working on in your studio at home?

These times have called for adaptation. At the beginning of the year, I had our home in Denver and an apartment in DC for work. I was painting at both locations, but ones space does impact the work, I couldn’t seem to deliver the same work at two different locations.

Recently, my wife and I moved to Laurel Canyon in Los Angeles. I have a fantastic studio with a view that is impacting my work. Laurel Canyon has a long history of being home to the Beach Boys, Crosby Still Nash Young, and many of the artists of the sixties and seventies. I think there is some good creative energy in the air.

What does creative community and/or social sanity look like for you right now? How are you staying connected and grounded?

My creative community has been virtual, like many people. I frequently talk to my fellow Green Olive residents; namely Rabia Farooqui and Niccy Pallant. They push and support my work, and I am very appreciative of their friendship.

Laurel Canyon 08. 20”x24”, mixed media on paper

Laurel Canyon 11. 20”x24”, mixed media on paper, (private collection)

Laurel Canyon 10. 20”x24”, mixed media on paper. (private collection)

What insights about creativity in a time of crisis can you share with other artists? What have you been learning?

I think it is important to be open to new ideas, again be adaptive, but also self-aware. I know that I am the most open first thing in the morning. So, 530 am, I have a cup of coffee in my hand, and I am launching right into my work. If i look at the news first, I am already distracted or anxious about the world.

This is a great time to take risks, we are already home, no one is looking at your work, what do you have to lose? Take the big risks, fail, and try it again. This is a great time to fail!

Mark’s website: marklesserart.com   …  and Instagram: @marklesserart

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Canadian printmaker and founder of Zocalo art center, Claire Lemay speaks of focusing on completing past works and using different processes to produce new ones until she can get back to the engraving studio. This post is part of a series of interviews with former Artists in Residence at Green Olive Arts asking how this season of social distancing and postponed cultural mobility has impacted them.

Green Olive Arts AiR Interview with Claire Lemay

How have you had to flex or pivot your art practice in this unprecedented season of home confinement? What are you currently working on in your studio at home?

For me, containment has not really changed my work routine. Since, for the past few years, I have been creating my artwork with digital tools in my studio at home. I have a large printer, allowing me autonomy to print my digital images. As for the traditional engraving I have done for many years, I can prepare my plates in my studio at home while waiting for the Zocalo printmaking center to open its doors. Then I’ll be able to print there on the big presses.

“Les Paniers Pour les Sourds 3,” digital print on paper, by Claire Lemay, 2020

“Les Paniers Pour les Sourds 6,” digital print on paper, by Claire Lemay, 2020

What does creative community and/or social sanity look like for you right now? How are you staying connected and grounded?

At the beginning of the confinement, I first focused on making an inventory of my artworks that have never been shown to the public. I also updated my website. I took this opportunity to complete a few series of artworks that I had begun in past years. Then, I started focusing on a series with the theme “The Radiant Cities”. This series reminds me of my visit in the medinas of Morocco last fall. The latest images suggest the idea of confinement by the overabundance of elements that crowd the composition and overlap with each other. From these juxtaposed modules emerge a solitude, a peace that I have noticed in my neighborhood since the beginning of the pandemic.

“La Cité Radieuse 1,” digital print on paper, by Claire Lemay, 2020

“La Cité Radieuse 12,” digital print on paper, by Claire Lemay, 2020

“La Cité Radieuse 13,” digital print on paper, by Claire Lemay, 2020

What insights about creativity in a time of crisis can you share with other artists? What have you been learning?

I communicate regularly with my friends through social media, and am thankful for the great importance that this communication holds in my life.

See more of Claire’s work on her website: www.clairelemay.com

Claire Lemay in her printmaking space at Zocalo arts center, which she founded in 1992 with Johanne Proulx

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Quebec printmaker and teacher Céline Goudreau talks in this interview, about how confinement has opened opportunity for new pathways into her printmaking. Celine spent time at Green Olive Arts in Fall 2019 for a group residency with three other printmaker friends whom she has known for many years. The group is part of Zocalo printmaking center in Quebec. This post is part of a series of interviews with former artists in residence at Green Olive Arts asking how this season of social distancing and postponed cultural mobility has impacted them.

Green Olive Arts AiR Interview with Céline Goudreau

Céline, how have you had to flex or pivot your art practice in this unprecedented season of home confinement? What are you currently working on in your studio at home?

This spring was supposed to be very busy for me. I had a solo exhibition running, but after only one week, the lock down abruptly suspended everything that was planned. I had different teaching opportunities scheduled and I was about to realize a big mural with children in a school. I was very excited about all those things. I also had planned to do a series of large prints, but the printmaking center where I go closed. I had to change plans!
Furtunately, I have a studio at home, so I did a big clean up to make my place more functional and warm. It took me a while to feel at home. At first, I didn’t know where to start. I procrastinated a few days, but then, the pleasure of creation got stronger and now I feel my studio is a very special place for me to be!

Céline Goudreau in her studio, 2020

At first, I was obsessed with the virus. In my art work the confinement, the distancing and “it’s going to be fine” were my main subjects. Then, as I couldn’t go to Zocalo studios to print, I made an inventory of my prints and I decided to transform some of them with mixed media techniques. I changed my approach. Instead of focusing on the negative side of the pandemic, I now focus more on the encounter of lines, shapes and textures. Painting in a spontaneous and intuitive way helps me to have a sense of pleasure and satisfaction. Of course, my feelings of what is happening are unconsciously very present in those lines, shapes and textures.

Confinement by Celine Goudreau, 2020

What does creative community and/or social sanity look like for you right now? How are you staying connected and grounded?

I regularly zoom in with my artist friends. We talk about what our lives in confinement are like and what we are working on. It allows us to exchange. I also have a lot of time to explore social media. I discovered visual artists from all over the world who work with the technique of collagraphy, which is my primary printmaking method. I have been teaching this process for 7 years. I signed up for an online engraving course and found new ways of approaching it. It will certainly change the way I teach. It’s very inspiring!

To stay grounded, I go for walks in the neighborhood and I meditate with a group online. It allows me to have a time to “stop” and helps me calm my anxiety.

Where the Wind Takes Us #1, by Céline Goudreau, 2020

Where the Wind Takes Us #2, by Céline Goudreau, 2020

What insights about creativity in a time of crisis can you share with other artists? What have you been learning?

I am grateful to have a place to stay and food to eat. Unfortunately, it is hard for a lot of people who suffer from the actual situation, not having work or food.

Time has slowed down and that’s great for me. It helps me to work on my patience and on the importance of not controlling everything. I’m learning to let go. When I am in a creative process, I like “lose control” and just be “here and now.” Art helps me to stay grounded. I have a lot to learn in my own life. Sometimes, fear gets on the way. When I realize it, I try to focus on what is essential. When I get involved in the creative process and when I stay open, spontaneous and confident, I feel a lot of joy. That’s when I feel a sense of connection with myself and I am very thankful for that.

Patience, by Céline Goudreau, 2020

What is happening right now is universal. Wherever we are in the world, we are all affected. I feel a connection with nature and the universe more than ever right now. We are part of something greater than us and we have no other choices than being in the present moment and following the flow.

See more of Céline’s art on her website www.celinegoudreau.com and  Facebook and Instagram – @celinegoudreau

Éboulement, by by Céline Goudreau, 2020

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Karachi, Pakistan based miniature painter Rabia Farooqui finds creative and emotional community in regular virtual studio visits with peers as she paints in her home studio during confinement. This post is part of a series of interviews with former Artists in Residence at Green Olive Arts asking how this season of social distancing and postponed cultural mobility has impacted them.

Green Olive Arts AiR Interview with Artist Name

Rabia, how have you had to flex or pivot your art practice in this unprecedented season of home confinement? What are you currently working on in your studio at home?

One of the biggest advantages of being a visual artist whose preferred medium is painting is that nothing hinders studio practice, not even home confinement. I was stocked up on materials and surfaces way before lock down was imposed and luckily had no trouble producing work.

Currently I am working on a new body of work for two upcoming exhibitions happening at the end of this year. The narratives in my compositions are heavily influenced by surrounding circumstances, so I’m sure the concept of isolation is going to have a strong presence in my work.

Family Planning by Rabia Farooqui, 2020

Last Seen In Uniform by Rabia Farooqui, 2020

What does creative community and/or social sanity look like for you right now? How are you staying connected and grounded?

I have a couple of friends who are also artists and every once a week we give each other a virtual tour of our studios and the work being produced. This process exposes feelings of vulnerability, which at a time like this is the closest one can get to experiencing an intimate exchange of emotions. Thus, its safe to say that I rely heavily on these virtual meetings online to validate the days I feel any form of disconnect.

Squeaky Clean by Rabia Farooqui, 2020

My art has always had an online presence. Many are now exploring various mediums to express themselves online; not only is this very motivating but its also nice to see the creative community come together through their collective effort.

What insights about creativity in a time of crisis can you share with other artists? What have you been learning?

I learned that an overload of information/news of the ongoing pandemic was affecting my creativity and my practice a considerable amount. Thus, I had to distance myself from all news related outlets since it was triggering feelings of anxiety and fear.

Play Fight by Rabia Farooqui, 2020

See more of Rabia’s work on Instagram @rabiafarooqui.4

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In this interview with printmaker and painter Cathy Weiss you’ll hear how her time in Tetouan, Morocco has continued to influence her art and how she has maintained creative community. This post is part of a series of interviews with former Artists in Residence at Green Olive Arts asking how this season of social distancing and postponed cultural mobility has impacted them.

Green Olive Arts AiR Interview with Cathy Weiss

Cathy, how have you had to flex or pivot your art practice in this unprecedented season of home confinement? What are you currently working on in your studio at home?

My studio is at home, but because I’ve had to teach from home there is no separation so I’ve had to set up a schedule for myself, studio time, home time, teaching. I work best on a schedule. I’m working on a series of work that started during my residency in Tetouan. I was so inspired by the tile work, women I met and the stork nest! That stork nest became the crown that now is the power symbol in my work.

I spent last summer in Spain where I continued my research into the life of Jews and Muslims. I also started a group of women of different faiths that come together to build bridges through the arts. Our event planned for June 6th was postponed but we’ll come together on Zoom to continue the process. That’s the big change, using Zoom for teaching and staying connected with my various groups.

What does creative community and/or social sanity look like for you right now? How are you staying connected and grounded?

In one of my artist groups we are meeting every two weeks on a Zoom call, highlighting an artist studio visit. Usually we would be meeting and planning exhibits. I also Zoom call with my print group friends and recently went on my first social distance walk with a group of friends as well. Most important thing I do to stay sane is take my dogs to the dog park daily. My husband and I have planted a garden, and I have never had so many birds and nests in my yard … and a coyote came to my window the other afternoon.

Nature is keeping me grounded!

What insights about creativity in a time of crisis can you share with other artists? What have you been learning?

I think for me having a daily practice is so important even if it’s only a quick daily sketch and written journal entry.

Cathy’s website: www.cathyweissink.com   …  and Instagram: @cathyweiss

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