Mourad Oussaadan, born in 1996 in Tetouan, is a multidisciplinary conceptual artist and graduate of the National Institute of Fine Arts in Tetouan 2025. He works at the intersection of memory and matter, focusing on used objects and the traces of time and the body they bear. His practice spans painting, sculpture, installation, and performance art, relying on found objects as carriers of memory and spaces for reshaping the relationship between humans and what they leave behind. He has participated in a number of residencies and art exhibitions. His work reflects a sensitivity towards the careless, fragile, and abandoned, proposing a visual approach that makes memory a formative force for material and art a space for reviving the human trace.

My work emerges from a personal stance rooted in sensitivity to time, loss, and forgetting. I see worn out and abandoned objects as spaces of memory rather than discarded materials. My interest in what is forgotten or invisible reflects a quiet resistance to consumption, erasure, and technological obsolescence, as well as an attempt to restore value to what is excluded from our individual and collective memory. For me, art is a means of repairing memory and reviving human connections through matter.
My research intersects themes of time, trace, body, and identity. I draw on daily observation and on personal and collective memory as conceptual materials, relying on the silent narratives embedded in objects. I am intrigued by the continuous transformation of materials, how they move from one hand to another, and how they retain the imprint of those who used them, as I search for a fragile balance between absence and presence. This reflective field allows my work to extend the exploration of the relationship between humans and what they leave behind, between memory and what erodes from it, restoring life to what has been excluded or forgotten.
My practice involves processes of repair, assemblage, repetition, and accumulation as both symbolic and material gestures. Each work extends the previous one, attempting to restore an earlier trace through a new material. I treat each project as a stage in an ongoing trajectory, where personal experience intersects with conceptual inquiry. Sometimes I begin with the physical trace to uncover its meaning, and other times I start with the idea and search for a tangible form for it an intentional displacement from traditional meaning. This reciprocal relationship between concept and matter is what gives the practice its depth.
My work spans drawing, installation, sculpture, and performance, occasionally incorporating found objects and organic materials such as hair and textiles. I choose the medium according to the specificity of the idea, and I tend toward combining manual and constructive techniques. I do not seek beauty as an end, but rather a visual and emotional resonance that provokes questions about permanence and disappearance. Ultimately, my work becomes a dialogue between matter and memory, between what can be repaired and what can only be recalled through art.