Sfiya is a visual artist of Moroccan origin, based in Montreal. She explores the identity issues of the Moroccan diaspora, by questioning the way in which certain beliefs migrate, mutate and crystallize. In this first iteration of the project An Eye for an Eye, she focuses on the belief in the evil eye, according to which a look or a compliment can put a curse on the person who receives it. Her deeply narrative work is inspired by the story of her aunt, Aicha, who lived in this apartment and uses a symbolic color, blue, traditionally seen as protection against the evil eye. Sfiya's practice combines storytelling, painting, and augmented reality. The stork, a recurring iconography in his works, speaks to us about migration, identity hybridity, uprooting and heritage. While her paintings are rooted in surrealism and address themes related to magic, invisible borders, and traditional tales, the augmented reality experiences that accompany them plunge the audience into a mystical environment where the boundaries between the spiritual and physical worlds blur.
The experience you are about to discover takes you into the world of Aicha, revealing the deep and intimate bond between the artist and her aunt.
The creation of this project was made possible thanks to the financial support of Quebec Council of Arts and Letters.
Sfiya is a visual artist of Moroccan origin based in Montreal. With a master's degree in architecture, she worked in France, Morocco and Quebec before devoting herself fully to her career in the visual arts. His work has been presented at various artistic events such as Artch (2024), Mtl en Arts (2024), Pictura (2023) and Art Souterrain (2022). She also collaborated with the Montreal Museum of Fine Arts for the project Landline (2023) and participated in several exhibitions in Montreal and Quebec City, including Chiguer Contemporary Art (2024), Eastern Bloc (2023) and the National Institute of Contemporary Art (2022). She organized her first solo exhibition at the Moroccan Cultural Center in Montreal (2021) and obtained a grant from the Conseil des Arts et des Lettres du Québec for a second solo at Fais-moi l'Art (2024). Sfiya will present new works in June 2025 as part of a solo exhibition at the Georges-Vanier Cultural Center.
“In this episode, we went to meet Sfiya, a Moroccan-Canadian multidisciplinary artist. She tells us about multicultural identity, digital texture in art and the meanings of the color blue in her work! ”
“It is obvious that H'RIRA Is a deeply personal expression of the artist's own identity while also functioning as a commentary on the enduring orientalist portraits of Morocco.”
“Sfiya (...) is part of a wave of committed artists who are working for the cultural decolonization of the communities from which they come.”
MONTREAL CAMPUS
By Camille Brasseur, October 27, 2021
“Sfiya's paintings are colorful, graphic. During the opening of the exhibition, it is an enchanting atmosphere (...) Sfiya questions the public about the importance of the balance between belonging and emancipation, tradition and globalization. (...)”
Article in Arabic published in the magazine Radio Canada International
THE INITIATIVE
October 16 2021
“The exhibition offers a poetic, surreal and decidedly new representation of Morocco and the Maghreb. At the same time, it creates an intercultural bridge of touching authenticity.”
“Safae is part of this ocean of committed artists who are convinced that art has a significant impact on society. She believes in the decolonization of communities through art and painting.”
“In his works, the artist exposes everyday situations, by contemplating his canvases for a long time you could hear the hustle and bustle that marks almost all Moroccan neighborhoods (...) His works bear the sign of the Arab-Muslim and Amazigh heritage.”
“In the middle of the room and the paintings sits a small pressure cooker. “He's the star of the exhibition,” laughs Sfiya, proudly holding up the object. The architect by training — Safae Mounsif whose real name is Safae Mounsif — is the creator of “H'ira”, the original exhibition held from October 21 to 28 at the Moroccan Cultural Center in Montreal. In his works, the artist exposes everyday situations, by contemplating his canvases for a long time you could hear the noise that marks almost all Moroccan neighborhoods (...) His works bear the sign of the Arab-Muslim and Amazigh heritage.”
The evil eye can be experienced and told, transmitted by word, through generations. The following recording embodies this orality. In it, Aicha, the artist's aunt, shares her experiences with the evil eye, provides advice, warns and tells stories she has experienced. She also discusses the symptoms of the evil eye and the remedies she used to heal them.
Fragments written by Anya Nousri for the project “Eye for an Eye”
Someone took a look at me, auntie. I don't see any other explanation. You need to help me ward off spells, find a cure, see a raqi, practice Hajima. Maybe even going to see the mausoleum of a marabout could help me. My aunt, who was preparing the bed, suddenly interrupted: It's impossible, it doesn't affect us. I sigh, roll my eyes, I know the song by heart. Why? Because we are M'diyninn? And yet, it is written in the Koran that we must be wary of the 3rd: I seek protection from the Lord of the dawning dawn, against the evil of the beings He created, against the evil of the darkness when it deepens, against the evil of those who blow on knots, and against the evil of the envious when he envy. Aunt, I felt it, I felt this bad spell that was cast on me, chills went through my body, I thought it was with the window open, but big drops of sweat fell from my forehead, slipped down my neck and back. My feet no longer carried me. No, it does not affect us, because we are protected. Our ancestors were victorious and have always protected us.
I'm done packing my bags. Montreal, my master's degree, new steps supposed to open doors for me. When I received my study visa, I understood that life was giving me a chance. I am the first in the family to go abroad. I hope that some of them will be able to join me in turn. I know my cousins would like to be in my shoes. Leaving the country. For them, the plane, the study permit, represent privileges that they could never think of. I hargou, that's all they considered. For the past few days, I have been hearing my mother humming songs of exile, as if she wanted to give me a message. Just before I closed my suitcase and put a lock, my mother came into my room with a mini Koran in her hands. Faiza, Benti, come on, put it in your luggage. Your grandmother brought it back with her from Mecca. Take it with you wherever you go. It will protect you from the envious, from what awaits you in the land of frozen souls.
On my cousin Chanez's engagement day, her best friend Kenza wanted to give her an orange caftan with gold threads. She absolutely wants to give it to him in person. I try to talk her out of it, explaining to her that my cousin is busy with the makeup artist, that there is no problem, that I will be able to put the dress back on her later. She disdains my words and bursts into each room until she finds my cousin. She rushes up to her, hugs her, with tears in her eyes, congratulates her before handing her gift. My cousin touched by this gesture kisses her and thanks her for her presence. Later, Chanez tells me that the moment this pan was in her hands, she had a bad feeling. She could no longer move her arm, she felt it heavy, as if paralyzed.
Before an important exam, or a soccer game my brothers play, my mom always lets a little trickle of tap water flow to bring us luck. The water must flow throughout the event otherwise the effect of the ritual is null and void. During my math exam at the University of Montreal, I asked to leave the classroom and go to the bathroom. I see three faucets running. When I left the exam, I went to the same bathroom and what was my surprise when I noticed that the water was still gushing out. I am smiling, I am not alone here.
Mima, do you really think the evil eye exists? My grandmother takes me by the hand and sighs: Yes, the evil eye does exist, darling. In any case, it was very present in my time. Today, people don't believe in anything anymore. Whereas before, we were very careful not to arouse envy and jealousy. She tells me that when she was pregnant with my father, she hid her pregnancy for six months. Once the good news was announced, the neighbours and cousins paraded at her house bech i hanouha, but she felt a lack of sincerity in their congratulations. She let one of her cousins put her hand on her swollen belly: a big mistake. My father almost died during the birth and his health was fragile throughout his childhood. During her other pregnancies, my grandmother didn't let anyone touch her belly.
On a depressing afternoon at our family home, my cousin and I couldn't think of anything better to do than play a card game. We make our way discreetly into the guest lounge, making ourselves comfortable on the sedaris. We whisper hoping no one saw us. My cousin taught me the rules of Ronda and we played a few games together until her mother showed up in a rage. But what's wrong? Are you crazy? How dare you do that under our roof? Taken with our hands in the bag, we stutter, trying to justify our presence in the sacred room. My cousin then pointed out to her that we did not touch the porcelain dishes, and that all the precious objects were intact. That doesn't stop my aunt from screaming like an idiot, with tears in her eyes, on the verge of scratching her face: Aouudou Billah Mina Cheitan Radjim. Aren't you ashamed? Play a card game in our blessed house! It's Hram!
Before entering the classroom, I have a small ritual: I put my hand on my silver khamsa, I take a deep breath and recite a protective duâa. One day, I sit next to Julie who is complimenting me on my necklace. I cringe, say Machallah three times in my head, hoping it won't break in the next few days. Right away, I remember what my cousin Chanez said: You are lucky to go to Canada, white people don't know how to look. It's true, I have nothing to fear from Julie. She asks me where it comes from. I explain to him that my aunt gave me this pendant when I was younger. It is so nice! It's Fatma's hand isn't it? I have a flatware with the same patterns at home. I bought it at Bouclair. I glare at her, throw my super powerful eye at her.
As a child, I spent my summer vacation with my paternal grandmother. She usually does the egg ritual for me. I curl up close to her legs when she takes an egg and applies a few small pressures on my head and shoulders while reciting the Koran. She then shared her concerns with me: Oh my granddaughter, you have the evil eye. You need to heal yourself. How do you know that Mima? Every time I recite the Koran, I get mixed up in the suras, I lose my words, I forget passages. It means you are sick.Luckily, God is bigger than the evil eye. Fortunately, you have the blessing of Allah. Then she takes the egg and takes it outside for the whole night. The stars must purify it. The next morning, we have to cook it and eat it so that I am protected from the wind. For a long time, I firmly believed in the power of this ritual, I tried to imagine who around me would want to pass the evil on to me. Years later, I learn that my grandmother has a neurodegenerative disease, and that the first symptoms are manifested by forgetting the verses of the sacred book.
A few days after my cousin's engagement, her boyfriend called her to cancel the wedding. But what are you talking about? All is well though. He explains to her that he has changed his mind, that he is no longer in love, that he does not want to get involved and that it is better to stop everything. He does not bother to apologize, he hangs up quickly and no longer deigns to answer his calls. A total ghosting, as if his eyes had gone away from her forever. My cousin starts screaming: Oh the idiot, oh the idiot, it's his fucking orange caftan. I'm going to take it apart.
Faiza, you need to take care of yourself, I think you're depressed. No, not at all, there is someone who monopolizes the hram to block me in life. It is not normal that a year after arriving in Montreal, I start to fail my courses. I had to give up my program of study when before, I lived for science. I am no longer myself. I don't go out anymore, I don't eat well and I barely sleep. And not to mention the fact that I worry all the time and distrust everyone. You know, it's so hard living here. It's cold and dull. My friend Yousra, who came from the country to visit me, smiles at me: I feel like you're describing the symptoms of ghorba more than the symptoms of the evil eye.
Three days after the death of my paternal grandmother, we women can finally visit her grave. Before the Fajr prayer, we walk to the cemetery. Like a processions, the women follow each other, one after the other in silence, except for the oldest who allow themselves to sing religious songs. On the dark, gloomy road, stray dogs bark, but they don't block our way. Once we arrive, sitting on the ground in front of Mima's tomb, we cry, pray, and cry again until sunrise. Before leaving, my aunt placed a terracotta vase filled with water on the grave. She invites my grandmother's daughters and granddaughters to come closer and look into the vase for a few seconds. At night, while you sleep, Mima's face will appear in your dreams and she will send you a message about your future.
I direct the trickle of white smoke to perfume every corner of my new three and a half. I greet the invisible inhabitants of this place who were there before me. I sit next to the burning 7armal, and I recite the prayers that my two grandmothers said to me when I was a child. I feel a heat in my chest. Melt lead and an alum stone. Perform the salt ritual. Swallow different mixtures, some homemade, others bought at the market. Immerse yourself in a water source seven times. Explode an egg. Put cloves in an amulet. I will heal myself eventually. I touch my khamsa hanging from my neck, I know it, Mima, Tata, Yemma, my ancestors are with me.
The event Artch is a festival which allows the next generation of artists to enter and take root in the Quebec arts community and to have the chance to exist without limits through a set of related and varied projects, throughout Quebec. The artch festival exhibition is a foray into the world of 21 artists of the next generation of Montreal, Chose this year from 500 applications. They were each given a space in Place Ville Marie, which they appropriated.
The project AN EYE FOR AN EYE continues! One second exhibition is planned as part of the programming of the Georges-Vanier Cultural Center (CCGV). Two workshops are planned as part of this exhibition.
The Georges-Vanier Cultural Center (CCGV) is a non-profit organization whose mission is to promote artistic and cultural practices and make them accessible to all. It is a place for dissemination, meetings and multidisciplinary, intercultural and intergenerational exchanges that promotes living together and the animation of community life through the democratization of arts and culture.
Varnishing: November 06 starting at 6 pm First guided tour: November 16 from 2 p.m. to 4 p.m. Second guided tour: November 23rd from 2 p.m. to 4 p.m.
Do the art for me is a non-profit organization dedicated to the dissemination of current and emerging artists in art. The organization hosts the exhibition AN EYE FOR AN EYE, a multidisciplinary project whose creation and distribution are financially supported by the Conseil des Arts et des Lettres du Québec.
The paintings were first modelled in 3D and then animated. They are detected by the application in the same way as a QR code. The animation is automatically started when you look at the painting through the iPad. This animation reveals more information about the painted scene.
Can I use my own device?
Yes, all you need to do is download the free Artivive app to experience it on your phone.
Does augmented reality change the perception of the original painting?
Yes, it offers new keys to reading and interpreting, enriching the perception of the scene.
Are there instructions for using the app?
Simply open the Artivive application and place it in front of one of the paintings. The camera must detect the entire paint to start the experiment.
Does the experience include sound?
Yes, in addition to the animations, sound elements are included. Make sure the sound on your device is on.
Why did you add augmented reality?
Augmented reality acts as a sacred medium, making visible a mystical and unclear environment between the spiritual and physical worlds.
How long does the experience last?
Each AR experience lasts less than 40 seconds.
Do you have more questions? Let us know your question below.
Anya Nousri is a Montreal author of Algerian origin. She is interested in North African literature and decolonial issues. She has published in the Collectives Cruelles, Infected Stories, Pissed, Pissed, Powerful Plagues, Capillaries and Mortel·les. She has also published texts in the journals Saturne and Musemédusa. I Was Gone with the Eye is her first novel.
Donia Zahir
Donia is a French-Moroccan product designer, who has been living in Montreal for six years. Passionate about visual and interactive communication, she has a double creative and technical competence, allowing her to design digital products with expertise. With 12 years of experience, Donia has collaborated with numerous companies in various sectors, such as automotive, transport, art and entertainment. Her mastery of new technologies and interfaces allows her to explore diverse and stimulating business areas. Driven by insatiable curiosity and a constant desire to learn, she maintains a rigorous technological watch. Ready to take on new challenges, she recently founded his web and design agency, Tok'n Agency, thus confirming its commitment to innovation and creativity.
Jad Moura
Multidisciplinary designer, Jad weaves links between various practices: art and design, cinema and photography, music and architecture. It focuses on sharing works, regardless of the medium, in order to create a community. Her practice is always rooted in mourning and death, to evolve towards love and compassion. Currently, Jad is working on the album La Fille du Poète, an exploration of mourning and transformation in the context of current wars and genocides. This introspection, from the self to the universe, focuses on the themes of love, freedom, and mourning. In this anthology, structured in three triptychs forming the album, a journey of nine songs embodies the union between mourning and love.
Mostly Noise
One collective of multidisciplinary artists in new media founded in 2022 by Hashem Ali, Danila Sergienko and Johan Vagstedt. A collaboration between a visual artist, an electronic musician and a poet. We are explorers of human perception, at the junction of abstract and interactive sounds, interpreted through a minimalist visual aesthetic.
Linary words
Linary words combines the sounds of IDM, Electronica and Glitch. Above all a composer, he takes care of harmony in order to accurately convey the emotion chosen at the start of each new piece. From the sample to the instrument, through various collaborations, he enjoys working and sculpting any material that inspires him. Between dreaminess and distortion, his compositions are an invitation to plunge into almost cinematographic worlds.
Mylène Lachance-Paquin
Independent curator, editor and consultant, Mylène Lachance-Paquin anchors her curatorial practice in a perspective that addresses societal reflections and collective issues through the demonstration of practices and research in various forms. She is also the founder and director of the POST-INVISIBLES Biennale; a look at the place of women* in the field of visual arts, which addresses the under-representation of women in the historicity of art history. As an editor, Mylène Lachance-Paquin has published texts in the Pictura catalog; spotlight on painting in Montreal (2021), in the latest book by Emmanuel Laflamme (2021), in the latest book by Emmanuel Laflamme (Coronart, 2023) and signs the text Besner, the free electron (2022) published by the Museum of Fine Arts from Mont-Saint-Hilaire. His articles have been published in the journals Esse (2022) and Vie des Arts (2023).
Poline Harbali
Poline Harbali has lived in Montreal for 8 years. Working mainly with archival material, she tells stories of love and intimate relationships in a variety of forms and mediums. His work was exhibited internationally and in Quebec, in particular at the VU Artist Center (Quebec), at the Stewart Hall Gallery (Pointe-Claire) and at the SBC Gallery (2025), but also at the Benaki Museum (Athens, Greece), at the 104 artist center (Paris, France), at the 104 artist center (Paris, France) and at the Mattatoio Museum of Contemporary Art (Rome, Italy).
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