The tapestry echoes the scale of a cinema poster. Instead of a printed surface, it is a patchwork of salvaged textiles: remnants from a film’s sculptures, made from second-hand fabrics imported from Europe and resold in Tunisian markets, altered by turmeric, iron, and time. Like the film’s costumes and narrative, it is built from fragments, stories stitched together. 

At its center appears the Barbary lion, native to North Africa and driven to extinction by successive imperialist extractivist practices. It appears as a ghost of itself, and of its native land.