NEW  ——  'Obsessed with the Truth'  Silk Scarf

100% silk twill with hand rolled edges
'Obsessed with the Truth' Arabic motif print
90 x 90 cm

Sold out

NEW  ——  'Obsessed with the Truth'  Silk Scarf

100% silk twill with hand rolled edges
'Obsessed with the Truth' Arabic motif print
90 x 90 cm

Sold out

ART  ——  Title: Tea for One, 2018  ——  Series: The Necessity of the Unnecessary

Series
The Necessity of the Unnecessary

Title
Tea for One

Year
2018

Material
Acrylic, epoxy resin, bone china tea service, teaspoon and napkin

Dimensions
600 x 400 x 200 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Tea for One, 2018  ——  Series: The Necessity of the Unnecessary

Series
The Necessity of the Unnecessary

Title
Tea for One

Year
2018

Material
Acrylic, epoxy resin, bone china tea service, teaspoon and napkin

Dimensions
600 x 400 x 200 mm

ART  ——  Title: Yukky, 2018  ——  Series: Yukky Mummy

Series
Yukky Mummy

Title
Yukky

Year
2018

Material
LED neon mounted on clear acrylic backing

Dimensions
1900 x 650 x 25 mm

The Yukky represents an untouched version written by Kareem's non-writing hand.

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Yukky, 2018  ——  Series: Yukky Mummy

Series
Yukky Mummy

Title
Yukky

Year
2018

Material
LED neon mounted on clear acrylic backing

Dimensions
1900 x 650 x 25 mm

SHOP  ——  Series: Yukky Mummy

Yukky
2018
LED neon mounted on clear acrylic backing
1900 x 650 x 25 mm
Series: Yukky Mummy

The Yukky represents an untouched version written by Kareem's non-writing hand.
Remote control functions: 8 dynamic effects, 10 level dimmer and adjustable speed.

Signature: Accompanied by a Certificate of Authenticity, hand signed by Kareem Soliman.

Sold out

SHOP  ——  Series: Yukky Mummy

Yukky
2018
LED neon mounted on clear acrylic backing
1900 x 650 x 25 mm
Series: Yukky Mummy

The Yukky represents an untouched version written by Kareem's non-writing hand.
Remote control functions: 8 dynamic effects, 10 level dimmer and adjustable speed.

Signature: Accompanied by a Certificate of Authenticity, hand signed by Kareem Soliman.

SOLD OUT

ABOUT

Kareem’s work comments on the peculiarity and mundanity of existence. By continually questioning and highlighting, Kareem hopes in a way to challenge the meaning of existence, and the value systems that have been imposed upon us.

Not wanting to be bound by any specific medium, Kareem allows the process to evolve organically through iterative idea development, where the questions dictate the ideal method of conveying the outcome of the idea or concept. Inspiration strikes in the most unlikely of circumstances, often appearing as though by divine intervention apropos of nothing at all.

ABOUT

Kareem’s work comments on the peculiarity and mundanity of existence. By continually questioning and highlighting, Kareem hopes in a way to challenge the meaning of existence, and the value systems that have been imposed upon us.

Not wanting to be bound by any specific medium, Kareem allows the process to evolve organically through iterative idea development, where the questions dictate the ideal method of conveying the outcome of the idea or concept. Inspiration strikes in the most unlikely of circumstances, often appearing as though by divine intervention apropos of nothing at all.

ART  ——  Title: Greg, 2017  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Greg

Year
2017

Material
Polyurethane resin, automotive paint, and glitter flakes

Dimensions
310 x 210 x 60 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Greg, 2017  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Greg

Year
2017

Material
Polyurethane resin, automotive paint, and glitter flakes

Dimensions
310 x 210 x 60 mm

ART  ——  Title: Larry, 2017  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Larry

Year
2017

Material
Polyurethane resin and automotive paint

Dimensions
310 x 210 x 60 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Larry, 2017  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Larry

Year
2017

Material
Polyurethane resin and automotive paint

Dimensions
310 x 210 x 60 mm

ART  ——  Title: Andrew, 2017  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Andrew

Year
2017

Material
Polyurethane resin and automotive paint

Dimensions
310 x 210 x 60 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Andrew, 2017  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Andrew

Year
2017

Material
Polyurethane resin and automotive paint

Dimensions
310 x 210 x 60 mm

TEXT  ——  Series: The Mortal Struggle of the Soul

Written by Dr. Ashley Crawford

It is not difficult to perceive the notion of ‘struggle’ in Kareem Soliman’s latest series of sculptural works, The Mortal Struggle of the Soul. The works are both claustrophobic yet alluring, vacuum-sealed yet pulsing with energy, suggestive of an over-charged battery with explosive potential. The works are iconic, perhaps ready to be worshipped by its suit-adorned followers. However they also capture a degree of the ironic, celebrating as they do, a symbol of the mundane reality of capitalism’s enforced signature – the shirt and tie.

Having recently retreated from the corporate world to pursue his deeper calling to be an artist, Soliman has carefully packed his recent past in much the same way that a military officer might, carefully folding and storing his ‘uniform.’ But in doing so he has created a Pandora’s Box of conflicting messages. A time capsule that encapsulates both ambition and aspiration versus constraint and frustration.

The result carries elements of both nostalgia and the futuristic. The nostalgia is the hint of the finishes utilised by American automobile manufactures of the 1950s, which under the likes of manufacturer Henry Ford, began to resemble avant-garde sculptures on wheels. One just has to consider the gas-guzzling, aggressively-finned, 1968 Cadillac DeVille, a decided precursor to various versions of the Batmobile ever since and the kind of vehicle that has inspired legions of artists for decades – just consider the works of American artist Matthew Barney.

However it is a torso, presumably male given the tailoring, that Soliman portrays and in this it is nigh-impossible to ignore the resemblance to the finishes utilised by film-maker James Cameron in Terminator 2: Judgment Day for his shape-shifting T-1000 replete with morphing shirt and tie.

Amongst the patina’s selected Soliman has, at least in one case, elected to finish these sculptures in darkly iridescent automotive enamels replete with lashings of micro-glitter. The colour of the base is a specific black allowing the glitter to leap at the viewer in a form of a ‘sales pitch’ to highlight an updated ‘promise’ to replace the promises made at the time such vehicles were painted, as a reference to one of the tools used in the continual drive of enforced capitalism.

While Soliman worked in the corporate environment for nine years and did so to attain financial security, he was not unaware of the bind he had found himself in. In his own act of defiance Soliman went out of his way to avoid adorning the corporate ‘uniform’ – a streak of anarchy and defiance in a shirt-and-tie universe.

Soliman points to department stores providing ‘shirt and tie’ wearers a million colour options and combinations of wearing the same garb, suggesting that combining a red tie with a blue shirt is a supposed sign of radical individualism. One tends to forget that a tie, no matter its colour or material, holds as its distant cousin a simple medieval snot rag, an item for phlegm and nasal discharge which gradually morphed into a fashion statement while also a symbol of entrapment and corporate bondage. Famous French semiologist Roland Barthes, writing in his 1967 tome The Fashion System, summed up the corporate ‘look’ as a kind of machine for maintaining meaning without ever fixing it.''

“The suit is both a symbol of power and professionalism in corporate culture, but also of monotony and complacence,” suggest the editors of the fashion/theory journal Vestoj. “So in deferring from the preserved, pressed and perfect business suit, the opposition of the archetype is revealed, when the suit is imperfect, there is an implication of weakness and of the individual body within.”[1] Thus, in questioning the ‘norm’ Soliman had already placed himself as something of an outlier.

At the end of the day, The Mortal Struggle of the Soul has at its core a powerful sense of self-portraiture. It is Soliman the artist capturing Soliman at his aspirational height – would-be corporate powerhouse, metalised thus invulnerable, grasping for the freedom that theoretically comes with capitalist success – “aspirations that are unattainable,” as he himself notes. The Warholesque notion that the shirt in different finishes could be infinitely reproducible fed into Soliman the Corporate’s more fiendish tendencies. But the result, alluring as it is, appealing to our love of order and security, is also inevitably soul-crushing, a pre-packed, dry-cleaned and sanitised notion of prestige. Thus Soliman enters into the titanic battle for the Soul.

But his protagonists, or at the least his viewers, come prepared. Soliman has crafted a stylish customised briefcase with foam insert for the sculpture for buyers to own. Besides creating something practical to present the sculpture in for buyers, the briefcase clearly plays into the entire corporate concept. An added layer of accouterment to the uniform.

Even though the finish is highly edited it was important the initial imprint of the shirt-and-tie used to make the mold was executed to perfection with the result that every aspect of the fabrics’ texture, stitching, buttons, and contours were captured in order to place the viewer in a state of reality-shift, questioning between impressions of what is real versus that which is fabricated.

Soliman easily acknowledges the subject zone “represents the emptiness of the dream,” replete with “a solid gloss finish to represent the consistency of the working person.” This gloss finish also allows the viewer to witness the obsessively rendered texture of the shirt and tie, a distraction from any potential faults within the person and acting as a form of disguise or mask.

We can see them in every CBD of every Western capital or, in an alternate system, in every Communist regime. Zombies capitulating to the system, following tribal norms to fulfill the aspiration of ‘fitting in’ and ‘following the rules.’ All wearing the same button-down noose to hang from the corporate gallows. It is a version of himself that he has rejected but recreated as artworks as a reminder of the folly of our ways. In The Mortal Struggle of the Soul it is the soul that prevails.

– Ashley Crawford

 

[1] DRESSING FOR SUCCESS The Business Suit and Corporate Culture: Ron Jude’s Executive Model

by Vestoj Editors http://vestoj.com/dressing-for-success-the-business-suit-and-corporate-culture-ron-judes-executive-model/

TEXT  ——  Series: The Mortal Struggle of the Soul

Written by Dr. Ashley Crawford

It is not difficult to perceive the notion of ‘struggle’ in Kareem Soliman’s latest series of sculptural works, The Mortal Struggle of the Soul. The works are both claustrophobic yet alluring, vacuum-sealed yet pulsing with energy, suggestive of an over-charged battery with explosive potential. The works are iconic, perhaps ready to be worshipped by its suit-adorned followers. However they also capture a degree of the ironic, celebrating as they do, a symbol of the mundane reality of capitalism’s enforced signature – the shirt and tie.

Having recently retreated from the corporate world to pursue his deeper calling to be an artist, Soliman has carefully packed his recent past in much the same way that a military officer might, carefully folding and storing his ‘uniform.’ But in doing so he has created a Pandora’s Box of conflicting messages. A time capsule that encapsulates both ambition and aspiration versus constraint and frustration.

The result carries elements of both nostalgia and the futuristic. The nostalgia is the hint of the finishes utilised by American automobile manufactures of the 1950s, which under the likes of manufacturer Henry Ford, began to resemble avant-garde sculptures on wheels. One just has to consider the gas-guzzling, aggressively-finned, 1968 Cadillac DeVille, a decided precursor to various versions of the Batmobile ever since and the kind of vehicle that has inspired legions of artists for decades – just consider the works of American artist Matthew Barney.

However it is a torso, presumably male given the tailoring, that Soliman portrays and in this it is nigh-impossible to ignore the resemblance to the finishes utilised by film-maker James Cameron in Terminator 2: Judgment Day for his shape-shifting T-1000 replete with morphing shirt and tie.

Amongst the patina’s selected Soliman has, at least in one case, elected to finish these sculptures in darkly iridescent automotive enamels replete with lashings of micro-glitter. The colour of the base is a specific black allowing the glitter to leap at the viewer in a form of a ‘sales pitch’ to highlight an updated ‘promise’ to replace the promises made at the time such vehicles were painted, as a reference to one of the tools used in the continual drive of enforced capitalism.

While Soliman worked in the corporate environment for nine years and did so to attain financial security, he was not unaware of the bind he had found himself in. In his own act of defiance Soliman went out of his way to avoid adorning the corporate ‘uniform’ – a streak of anarchy and defiance in a shirt-and-tie universe.

Soliman points to department stores providing ‘shirt and tie’ wearers a million colour options and combinations of wearing the same garb, suggesting that combining a red tie with a blue shirt is a supposed sign of radical individualism. One tends to forget that a tie, no matter its colour or material, holds as its distant cousin a simple medieval snot rag, an item for phlegm and nasal discharge which gradually morphed into a fashion statement while also a symbol of entrapment and corporate bondage. Famous French semiologist Roland Barthes, writing in his 1967 tome The Fashion System, summed up the corporate ‘look’ as a kind of machine for maintaining meaning without ever fixing it.''

“The suit is both a symbol of power and professionalism in corporate culture, but also of monotony and complacence,” suggest the editors of the fashion/theory journal Vestoj. “So in deferring from the preserved, pressed and perfect business suit, the opposition of the archetype is revealed, when the suit is imperfect, there is an implication of weakness and of the individual body within.”[1] Thus, in questioning the ‘norm’ Soliman had already placed himself as something of an outlier.

At the end of the day, The Mortal Struggle of the Soul has at its core a powerful sense of self-portraiture. It is Soliman the artist capturing Soliman at his aspirational height – would-be corporate powerhouse, metalised thus invulnerable, grasping for the freedom that theoretically comes with capitalist success – “aspirations that are unattainable,” as he himself notes. The Warholesque notion that the shirt in different finishes could be infinitely reproducible fed into Soliman the Corporate’s more fiendish tendencies. But the result, alluring as it is, appealing to our love of order and security, is also inevitably soul-crushing, a pre-packed, dry-cleaned and sanitised notion of prestige. Thus Soliman enters into the titanic battle for the Soul.

But his protagonists, or at the least his viewers, come prepared. Soliman has crafted a stylish customised briefcase with foam insert for the sculpture for buyers to own. Besides creating something practical to present the sculpture in for buyers, the briefcase clearly plays into the entire corporate concept. An added layer of accouterment to the uniform.

Even though the finish is highly edited it was important the initial imprint of the shirt-and-tie used to make the mold was executed to perfection with the result that every aspect of the fabrics’ texture, stitching, buttons, and contours were captured in order to place the viewer in a state of reality-shift, questioning between impressions of what is real versus that which is fabricated.

Soliman easily acknowledges the subject zone “represents the emptiness of the dream,” replete with “a solid gloss finish to represent the consistency of the working person.” This gloss finish also allows the viewer to witness the obsessively rendered texture of the shirt and tie, a distraction from any potential faults within the person and acting as a form of disguise or mask.

We can see them in every CBD of every Western capital or, in an alternate system, in every Communist regime. Zombies capitulating to the system, following tribal norms to fulfill the aspiration of ‘fitting in’ and ‘following the rules.’ All wearing the same button-down noose to hang from the corporate gallows. It is a version of himself that he has rejected but recreated as artworks as a reminder of the folly of our ways. In The Mortal Struggle of the Soul it is the soul that prevails.

– Ashley Crawford

 

[1] DRESSING FOR SUCCESS The Business Suit and Corporate Culture: Ron Jude’s Executive Model

by Vestoj Editors http://vestoj.com/dressing-for-success-the-business-suit-and-corporate-culture-ron-judes-executive-model/

SHOP  ——  Series: The Mortal Struggle of the Soul

530g Paperweight with Kareem Soliman star motif

From 'The Mortal Struggle of the Soul'
Polyurethane resin and automotive paint
80 x 80 x 80 mm
Unique

Signature: Accompanied by a Certificate of Authenticity, hand signed by Kareem Soliman.

Sold out

530g Paperweight with Kareem Soliman star motif

From 'The Mortal Struggle of the Soul'
Polyurethane resin and automotive paint
80 x 80 x 80 mm
Unique

Signature: Accompanied by a Certificate of Authenticity, hand signed by Kareem Soliman.

Sold out

SHOP  ——  Series: The Mortal Struggle of the Soul

530g Paperweight with Kareem Soliman star motif

From 'The Mortal Struggle of the Soul'
Polyurethane resin and automotive paint
80 x 80 x 80 mm
Unique

Signature: Accompanied by a Certificate of Authenticity, hand signed by Kareem Soliman.

SOLD OUT

530g Paperweight with Kareem Soliman star motif

From 'The Mortal Struggle of the Soul'
Polyurethane resin and automotive paint
80 x 80 x 80 mm
Unique

Signature: Accompanied by a Certificate of Authenticity, hand signed by Kareem Soliman.

SOLD OUT

ART  ——  Title: George, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
George

Year
2018

Material
Plexiglas, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: George, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
George

Year
2018

Material
Plexiglas, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

ART  ——  Title: Anthony, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Anthony

Year
2018

Material
Plexiglas, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Anthony, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Anthony

Year
2018

Material
Plexiglas, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

ART  ——  Title: Derrick, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Derrick

Year
2018

Material
Plexiglas, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Derrick, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Derrick

Year
2018

Material
Plexiglas, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

ART  ——  Title: Nick, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Nick

Year
2018

Material
Plexiglas, epoxy resin, automotive paint, shirt and tie

Dimensions
835 x 835 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Nick, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Nick

Year
2018

Material
Plexiglas, epoxy resin, automotive paint, shirt and tie

Dimensions
835 x 835 x 50 mm

INSTAGRAM

INSTAGRAM

ART  ——  Title: Miles, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Miles

Year
2018

Material
Plexiglas, epoxy resin, holographic glitter, shirt and bow tie

Dimensions
835 x 835 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Miles, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Miles

Year
2018

Material
Plexiglas, epoxy resin, holographic glitter, shirt and bow tie

Dimensions
835 x 835 x 50 mm

ART  ——  Title: Tony, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Tony

Year
2018

Material
Gold mirrored acrylic, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Tony, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Tony

Year
2018

Material
Gold mirrored acrylic, epoxy resin, shirt and tie

Dimensions
835 x 835 x 50 mm

ART  ——  Title: Five Days a Week, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Five Days a Week

Year
2018

Material
Acrylic, epoxy resin, five ties

Dimensions
805 x 335 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Five Days a Week, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Five Days a Week

Year
2018

Material
Acrylic, epoxy resin, five ties

Dimensions
805 x 335 x 50 mm

ART  ——  Title: Same but Different, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Same but Different

Year
2018

Material
Acrylic, epoxy resin, three pairs of socks

Dimensions
575 x 415 x 50 mm

 

Image: Photographed by Makiko Ryujin © 2018 Kareem Soliman All rights reserved.

ART  ——  Title: Same but Different, 2018  ——  Series: The Mortal Struggle of the Soul

Series
The Mortal Struggle of the Soul

Title
Same but Different

Year
2018

Material
Acrylic, epoxy resin, three pairs of socks

Dimensions
575 x 415 x 50 mm

SHOP  ——  Series: General Collection

100% silk twill with hand rolled edges

'Obsessed with the Truth' Arabic motif print

90 x 90 cm

Sold out

White with red embroidery - 'Obsessed with the Truth' in Arabic

Unstructured 4 panel design
One Size

Sold out

Unisex
Black with white (soft handle) print
100% cotton (Enzyme washed)
180 gsm

Kareem's answer to the iconic 'Italians Do It Better' t-shirt created by Dolce & Gabbana.

Sold out

Black with white embroidery - 'Obsessed with the Truth' in Arabic

Unstructured 4 panel design
One Size

Sold out

Four colour jacquard knit
Double sided with unique design on each side
One Size
 

'Obsessed with the Truth' in Arabic on one side.
The 'Kareem Soliman' logo on the alternate side.

Sold out

SHOP  ——  Series: General Collection

100% silk twill with hand rolled edges

'Obsessed with the Truth' Arabic motif print

90 x 90 cm

Sold out

White with red embroidery - 'Obsessed with the Truth' in Arabic

Unstructured 4 panel design
One Size

Sold out

Unisex
Black with white (soft handle) print
100% cotton (Enzyme washed)
180 gsm

Kareem's answer to the iconic 'Italians Do It Better' t-shirt created by Dolce & Gabbana.

Sold out

Four colour jacquard knit
Double sided with unique design on each side
One Size
 

'Obsessed with the Truth' in Arabic on one side.
The 'Kareem Soliman' logo on the alternate side.

SOLD OUT

Black with white embroidery - 'Obsessed with the Truth' in Arabic

Unstructured 4 panel design
One Size

Sold out

CONTACT

For all queries please don’t hesitate to contact us directly via the form below or at info@kareemsoliman.com

We will endeavour to respond to your email within 24 hours.

Thanks!
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CONTACT

For all queries please don’t hesitate to contact us directly via the form below or at info@kareemsoliman.com

We will endeavour to respond to your email within 24 hours.

Thanks!
This field is required
This field is required
This field is required

ART  ——  Series: Euphoric Sedation, 2017

Series
Euphoric Sedation

Year
2017

Material
Capsule Collection

ART  ——  Series: Euphoric Sedation, 2017

Series
Euphoric Sedation

Year
2017

Material
Capsule Collection

TEXT  ——  Series: Euphoric Sedation

Written by Miles Scott

Euphoric Sedation is the publicly released debut by Melbourne based artist Kareem Soliman. The series utilises Codeine as a device to explore the often contradictory and hypocritical relationship between socially constructed belief systems which encourage the vilification and condemnation of those that do not fit mainstream ideals and what is considered acceptable. Born from an observation of the judgement meted out by those against non-conformists and justified by unquestioned principles and unchallenged ignorance, the 'Euphoric Sedation' capsule collection invites you to be an active participant in a silent subversion against the sort of society that is happy to sit back in their glass houses throwing stones from within the socially accepted numbness of their Soma induced stupor.

Each collection within the Euphoric Sedation series parallels Kareem’s creative approach; investigating the interplay of colours, form and aesthetics, with each collection available concurrently to highlight the evolution of the concept. The ongoing availability of the collection is an intentional contrast to the transient and ephemeral nature of fashion, where seasonal collections seem to lose relevance shortly after their release. In this way, the series is intended to share greater similarities with the music industry, where each release by an artist, while different and varied, will in and of itself be a reflection of their growth and an expansion of what remains uniquely their sound.

The final outcome of this first collection is a highly-edited representation of several revisions and iterations testing the embellished design feature against various colour combinations, including placement and size to most accurately convey Kareem’s sentiment of a neomodern take on “successfully" manufactured ‘90s hip-hop style pop groups.

– Miles Scott

TEXT  ——  Series: Euphoric Sedation

Written by Miles Scott

Euphoric Sedation is the publicly released debut by Melbourne based artist Kareem Soliman. The series utilises Codeine as a device to explore the often contradictory and hypocritical relationship between socially constructed belief systems which encourage the vilification and condemnation of those that do not fit mainstream ideals and what is considered acceptable. Born from an observation of the judgement meted out by those against non-conformists and justified by unquestioned principles and unchallenged ignorance, the 'Euphoric Sedation' capsule collection invites you to be an active participant in a silent subversion against the sort of society that is happy to sit back in their glass houses throwing stones from within the socially accepted numbness of their Soma induced stupor.

Each collection within the Euphoric Sedation series parallels Kareem’s creative approach; investigating the interplay of colours, form and aesthetics, with each collection available concurrently to highlight the evolution of the concept. The ongoing availability of the collection is an intentional contrast to the transient and ephemeral nature of fashion, where seasonal collections seem to lose relevance shortly after their release. In this way, the series is intended to share greater similarities with the music industry, where each release by an artist, while different and varied, will in and of itself be a reflection of their growth and an expansion of what remains uniquely their sound.

The final outcome of this first collection is a highly-edited representation of several revisions and iterations testing the embellished design feature against various colour combinations, including placement and size to most accurately convey Kareem’s sentiment of a neomodern take on “successfully" manufactured ‘90s hip-hop style pop groups.

– Miles Scott

SHOP  ——  Series: Euphoric Sedation

Royal blue with white embroidery
100% combed cotton
190 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Royal blue with white embroidery
65% cotton/35% polyester
310 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Royal blue with white embroidery  
100% Acrylic
One Size

The embroidered calligraphy remains an untouched version of Kareem's own writing style.

Sold out

Size: 106cm (h) x 55cm (w)

Printed on: Matte Polypropylene Film

Thickness: 180 microns/0.18mm (extremely light weight)

Properties: Anti-curl & tear resistant

Sold out

White with blue embroidery
100% combed cotton
190 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

White with royal blue embroidery
65% cotton/35% polyester
310 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Red with metallic silver embroidery  
100% Acrylic
One Size

The embroidered calligraphy remains an untouched version of Kareem's own writing style.

Sold out

Nike Air Force 1's individually prepared & decorated by Kareem, with each pair containing a drop of his own blood. Only 50 units available as part of the first edition release, each numbered and coming with a signed card by the artist.

Decorative process: The leather upper and synthetic sole are separately prepared involving the use of a specific adhesion promoter for each material. The specialised leather paint (containing Kareem's blood) is coated with a gloss finisher protecting from scuff marks and preventing the paint from cracking. The 'Nike' tongue label is covered with a hand riveted patent leather pull tab. The sneaker is finished off with an innovative nano tech waterproofing spray that doesn’t impact breathability and texture of the leather.

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Red with metallic thread embroidery
100% combed cotton
190 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

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Red with metallic silver embroidery
65% cotton/35% polyester
310 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Metallic silver and matt black embroidery
Size = 90 mm x 25 mm

Setting Instructions

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SHOP  ——  Series: Euphoric Sedation

Royal blue with white embroidery
100% combed cotton
190 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Red with metallic thread embroidery
100% combed cotton
190 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

White with royal blue embroidery
65% cotton/35% polyester
310 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Royal blue with white embroidery  
100% Acrylic
One Size

The embroidered calligraphy remains an untouched version of Kareem's own writing style.

Sold out

Metallic silver and matt black embroidery
Size = 90 mm x 25 mm

Setting Instructions

Sold out

Nike Air Force 1's individually prepared & decorated by Kareem, with each pair containing a drop of his own blood. Only 50 units available as part of the first edition release, each numbered and coming with a signed card by the artist.

Decorative process: The leather upper and synthetic sole are separately prepared involving the use of a specific adhesion promoter for each material. The specialised leather paint (containing Kareem's blood) is coated with a gloss finisher protecting from scuff marks and preventing the paint from cracking. The 'Nike' tongue label is covered with a hand riveted patent leather pull tab. The sneaker is finished off with an innovative nano tech waterproofing spray that doesn’t impact breathability and texture of the leather.

Sold out

White with royal blue embroidery
100% combed cotton
190 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Royal blue with white embroidery
65% cotton/35% polyester
310 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Red with metallic silver embroidery
65% cotton/35% polyester
310 gsm

The embroidered calligraphy remains an untouched version of Kareem's own writing.

Sold out

Red with metallic silver embroidery  
100% Acrylic
One Size

The embroidered calligraphy remains an untouched version of Kareem's own writing style.

Sold out

Size: 106cm (h) x 55cm (w)

Printed on: Matte Polypropylene Film

Thickness: 180 microns/0.18mm (extremely light weight)

Properties: Anti-curl & tear resistant

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© 2018 Kareem Soliman. All Rights Reserved

© 2018 Kareem Soliman. All Rights Reserved