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While interviewing Habib, he was careful not to reveal the secrets behind the creation process. He only highlighted a few steps involved in the production. Canvases made using soft cotton are used for the art works. After the art design is outlined on the canvas using pencil sketching, the artist would lay the foundation using special glue and other chemical products. Coloured sand are sprinkled onto the foundation according to the art design.
More glue could be added to create layers of sand in order to add depth level to the art work. Each original art piece is full of inspiring spectrum of colours. A closer look will reveal that each original art piece is carefully constructed using an assortment of fine grade, coloured sand with high pigmentation for art work. It is no wonder that the production cost for one single coloured sand art work costs about Tunisian dinars. A small picture would take about 90 hours for completion, while a large picture could take up to hours for completion. His artworks are also sold internationally to France.
During my interview with Habib in July , Habib was invited to showcase his art works at art expositions in Greece and Geneva, Switzerland.
dynipalo.tk: Djerba, Tunisia Travel Guide - Sightseeing, Hotel, Restaurant & Shopping Highlights (Illustrated) eBook: Karen Paterson: Kindle Store. Djerba, Tunisia Travel Guide - Sightseeing, Hotel, Restaurant & Shopping Highlights book. Guide - Sightseeing, Hotel, Restaurant & Shopping Highlights (Illustrated The island of Djerba (sometimes also called Jerba) is a lush and large.
Joshua Mok. Again, I do this with little company — there are maybe 20 other visitors on a warm morning. I cast my mind back to my last trip to Rome, to the queues at the Colosseum — to the postcard touts and the thrust of selfie-sticks — and whisper to myself the sacrilege that, for breathless glimpses of the stadiums of ancient times, El Djem might well be the superior location.
There are echoes at every turn. It is perfectly placed. Behind it, the medina is a maze — walls a whitewashed canvas; doors a flawless aquamarine but for the nails hammered into the wood, forging intricate black patterns. In front, the beach is dotted with fishing boats. The catch they carry is served at Belle Vue — a restaurant where I am soon discussing the difference between Hammamet and Southampton. Half Tunisian, half British, her accent very much the latter, manager Sophia Aouichaoui has lived in the town for five years, after swapping her job in Hampshire for the lure of Africa.
Terror is global. Hammamet has traditionally been popular with Gallic holidaymakers — but the French-Tunisian connection runs deeper than winter sun. France ruled the country from to , and left its mark. Particularly in the capital.
Souk El-Blagdjia deals in weddings — dresses, floral baskets, fine head-scarves. Carts and mopeds push through this carnival, this crush of humanity. The Ez-Zitouna Mosque watches it all, its minaret kissing the sky. Life continues in these lanes.
As it does three miles west, at the National Bardo Museum. Security is tight when I arrive — the boot of the car is checked at the gate, the scanner at the door is operated to airport levels of diligence; belt and shoes come off.
The reason is not hidden. The memorial hangs at the entrance to the first gallery. The message is clear — we remember; we should also walk on. That the wrapping to these gifts is a 15th century Moorish palace — all sumptuous tiles and stucco friezes, broad domes, chandeliers — only adds to the grandeur. You could, perhaps, consider the latter an anti-climax.
Rome was so brutal in crushing its rival for control of the Mediterranean that little remains of the ancient city — and what survives was largely built by the conquerors. But if the slant of the sun across the second-century-AD Baths of Antoninus — or the nearby aqueduct that sprang from the same decades — does not snare your attention, then the best idea is to continue north-east to the village that certainly will. Sidi Bou Said is an icon — a hilltop proposition set above the sea, famed for the white-and-blue colour scheme that gives its buildings a gorgeous uniformity.
Ambling up the slope of Rue Habib Thameur, I am shocked — because, in contrast to Sousse and El Djem, there are tourists, perusing stalls, reading restaurant menus.