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Adrian

@adrian_pepe

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@skowheganart 2026

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Installing for “The Posterity of the Sun” a group exhibition curated by @ludovic_delalande , part of the @vima.artfair , amidst the remnants of the former industrial wine-making site on the Limassol shoreline.

Enveloping a weathered urban body in felted wool proposes a parallel between city and flesh, structure and wound. As wool shifts from animal to fiber to surface, it becomes a vessel—holding rupture, care, and gradual repair/disrepair.

With @lamiachoucair + @nika.projectspace taken in Limassol, Cyprus by @adrian_pepe

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a year ago

Fruiting bodies in the Fall.
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A population of people perpetually propagating from a single tree, isolated in a rich, mythical island far away. The bodies birthed from the tree fall upon ripening, waking to reality and screaming the sound “Waq Waq”. Vociferous, shrill, and piercing-the first cry of the newborn, signaling the beginning of a separate life.
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#waqwaq #wakwak #alwakwak #halfplanthalfanimal #chimera #tapestry #birth #genesis 📷 #diamrad by @adrian_pepe

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4 years ago

The end is near 🥲

Last weekend to visit “Utility of Being” , a site-specific installation staged at the Old Municipal Slaughterhouse in Sharjah. The installation comprises of continuously inflated forms made solely of Awassi sheep skins, a by product of the slaughtering process. The inflated sheep bodies penetrate and traverse the space, reclaiming a place of trauma, standing tall and expanded, echoing the defense mechanism of a blow fish: growing so large, no longer fitting in the mouth of its predator.

Disclaimer:

The animals whose skins are presented in this installation were not killed for the production of this work. The collected skins are stitched together and then inflated using internal air blowers; no plastic or PVC casing was used in the installation.

…………………………………….

It’s been a beautifully complex learning experience to be confronted with the reality of our consumption habits, the loss of ritual, and our present day tendencies in dealing with other-than-human agents.

@sharjaharchitecture

With the core team and collaborators @lamiachoucair @faaoux #awassi + @ruisearts

Thank you @hooralq + @tosin.oshinowo for the trust

And the SAT team @melmousfy @travellingsahil @mattmaganga #suhahasan @juliebonzon10 @mylesigwe @thesaragriffin @launarr @ni.hal_ @_mfalci @zorkeey @designbymoe_ ♥ ️

Our exhibiting neighbors @cave_bureau

Special thanks to @hudabaroudi @nadadebs @emmasawko @johnnyfarahofficial

And to my gallery @nika.projectspace @veronica.berezina @marina_vinogradova @kristies.arts 🐑 🤍 🙏

📷 by #dankostjepanovis #oalgurg #diamrad taken in Sharjah,UAE by @adrian_pepe

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3 years ago

Tomorrow, Friday 25 September, artist Adrian Pepe will discuss his practice and the work he made for Everything for Everybody @generatorprojects with @gerschultzj and @monotown for our closing event, 14:00-16:00. All welcome!

Adrian Pepe is a Honduran fibre artist based in Lebanon. His artistic practice is an ongoing investigation into process and material. Through his work, he interweaves nature and culture to create objects as tools to enable an open discourse on materiality, our morphing cultural landscape, and the present condition. Pepe’s work is rooted in textiles, spanning site-specific installations to durational performances. By directly engaging with the sentient providers of raw materials — whether plant or animal — Pepe forges relational ties that manifest in objects and events imbued with artistry, sweat, perspiration, mythology, and symbolism; transforming acts of making into speculative, embodied rituals that test and extend our understanding of material agency, ecological intimacy, and the poetics of labor.

Supported by the St Andrews Centre for Art and Politics, the St Andrews Centre for Contemporary Art, and the Centre for Global (Post)socialisms, Southeast, Central, and East European Studies.

All images courtesy and copyright Adrian Pepe. taken in Generator Projects by @adrian_pepe

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23 days ago

Today, as we celebrate Adrian Pepe’s birthday, we turn our attention to Jesus el héroe, 2025, currently on view as part of 𝘖𝘧𝘧𝘳𝘢𝘯𝘥𝘦𝘴 at NIKA Project Space, Paris.

Born in Honduras and based in Lebanon for many years, Pepe draws on the visual language of Catholic devotion, bringing together attributes traditionally associated with both Jesus and the Virgin Mary within his own body. Standing on glass bottles, in reference to Christ walking on water, while wrapped in the Virgin’s blue mantle, the artist brings these familiar religious codes into a single image. In doing so, he invites us to reflect on how these symbols continue to circulate through popular culture today.

Adrian Pepe, Jesus el héroe, 2025 Digital print 82 x 127 cm

Discover more works by Adrian Pepe on our website 🔗U taken in Komunuma by @adrian_pepe

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25 days ago

Past and future meet in matter, hands and heart become form.

Adrian Pepe
@adrian_pepe

Artwork: Sky Cult Series
Red ochre on felted Awassi wool with Chubut wool as base

Poem

The past is the
future

From time
immemorial

To be
embedded
deeply in
actuality

A forever
repeating GIF
structure

Adrian Pepe

Tomorrow, the artists, artworks, and poems finally meet in one place. @p.a.t.t.e.r.n.s.of.l.o.v.e opens in Amsterdam, September 17–19. by @adrian_pepe

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a month ago

A few views from our booth at Art Dubai special edition 2026

Grateful to have shared this experience with the work of Adrian Pepe, beautifully curated by Omar Al Gurg. Huge thanks to the Romanian Cultural Institute for the support, and especially to the wonderful Art Dubai team for their care, generosity, and incredible logistical support throughout. In a moment of uncertainty for the region, keeping this edition alive took real courage, and they did it with grace.

A warm thank you as well to our friends and supporters from Romania, who continue to believe in SOLO and stood by us once again to make this possible. Spring, art, friendship, a little courage and a reminder that meaningful things are always built together.

Solo, but never alone 🫶 taken in Art Dubai by @adrian_pepe

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5 months ago

Booth C13
@artdubai Special Edition 2026

Happy to present our booth for Art Dubai 2026 Special Edition with @solo.butneveralone

This project was brought together through an ongoing exchange between Robert Băjenaru/SOLO, @oalgurg / @modumethod , and myself — different practices, materials, and geographies converging into one booth.

Feels especially meaningful to realize this one with friends, amid everything unfolding around us. Looking forward sharing it with you.

15–17 May 
📷 In the images + on display :
Medicago polymorpha # 1, 2025
Felted Awassi wool, Chubut Wool, Silk textile, Silk Fibers, Wool Gauze, hand-guided embroidery, mixed fiber threads

Medicago polymorpha #1 develops through the coiled geometry of the burr, a structure evolved to fasten itself onto passing bodies and disperse through movement. Embedded within dense wool surfaces, the vegetal form begins to blur into the animal fiber, producing a hybrid field where distinctions between plant and body become unstable. The curling logic of the seed pod—its spirals, hooks, and clustered growth patterns—begins to echo mammalian structures: follicles, tendrils, hair, tissue, and cellular accumulation. Through felting, embroidery, and compression, the work stages a gradual merging between vegetal and animal systems, where the image is absorbed into the material itself. Rather than functioning as illustration, the embroidered forms become part of the wool’s surface tension and density, creating a tactile record of contact, entanglement, and shared morphologies. by @adrian_pepe

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5 months ago

FELT - ACTION - BODY

Phase 1

Research period with @adrian_pepe

Cleaning, collecting, sensing, pulling apart, releasing, soaking, rubbing, pressing, discussing, repeating, connecting, resisting, opening, being

In the light of the sun, the fiber of the wool, the eyes of the sheep and the pores of the skin the notion of time dissolves and a sentiment of merging interior and exterior evolves.

I feel very grateful for this wonderful explorative research phase and for receiving so much insight and knowledge from Adrian Pepe. by @adrian_pepe

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5 months ago

We are thrilled to announce SOLO’s participation in the 20th Anniversary Special Edition of Art Dubai 2026 with a solo presentation by Honduras-born, Lebanon-based fiber artist Adrian Pepe developed in dialogue with UAE-based designer and artist Omar Al Gurg.

Rooted in long-standing exchanges between the Middle East, Africa, South and East Asia and Eastern Europe, Art Dubai remains one of the few international fairs where the Global South operates not as a curatorial supplement, but as a structural premise. Now in its 20th edition, the fair brings together artists, galleries and institutions from across geographies and contexts, creating a space where artistic practices, material histories and critical conversations intersect within one of the world’s most dynamic cultural cities.

Adrian Pepe’s practice centers on the wool of the Awassi sheep, a Levantine breed increasingly discarded by industrial textile systems. Through processes of felting, stitching, braiding and compression Pepe transforms residual fibers into dense tactile surfaces where plant, animal, human and territory converge. Developed in dialogue with Omar Al Gurg’s modular concrete interventions, the booth unfolds through a material tension between soft and hard infrastructures, textile and architecture, accumulation and fragmentation.

This presentation is generously supported by the Romanian Cultural Institute (ICR România).

ART DUBAI – Special Edition
Madinat Jumeirah
15–17 May 2026
13:00–20:00 by @adrian_pepe

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5 months ago

Portraits captured by @oblychchya_ / @popovavita
ahead of Unfolding the Body workshop-performance in
Dnipro, Ukraine
Kyiv Biennial by @adrian_pepe

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5 months ago

Happy to share a beautiful and thoughtful text by @gerschultzj on my work, coming out in ‘Craft and War’, edited by Jennifer Way (June 2026) | @bloomsburypublishing

Jessica and I spent time together across Lebanon while she was researching the text through long car rides, conversations, moving between places and people that are part of the work… on the road, in studios, in between.

The book looks at how craft exists within conditions of war; how materials, making, and labor are shaped by conflict, displacement, survival, recovery.

The text related to the work is included in Part II, ‘Making Do’, which focuses on practices that take shape under pressure, within ongoing conditions.

Jessica is an art historian working across the Arab world and Africa, with a focus on fiber, material culture, and feminist approaches to art.

In her text, she follows the braided shearlings series through the people and places that form them: shepherds in the Bekaa Valley, Halima al Houjari and her cooperative in Arsal, and the salon practices of Tsedel Mamo Gebr in Beirut.

She traces how the wool moves across hands and landscapes, carrying with it relations between human, animal, and environment that she describes as an “aesthetic ecosystem” embedded in the material.

Grateful for our time spent together. by @adrian_pepe

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6 months ago