In this interview, Lebanese artist Greta Naufal (b. 1955) looks back at her beginnings as an artist during the 1980s, reflecting on her education and early exhibitions within the context of the ongoing war in Lebanon. Initially drawn to science, her passion for art had already taken root during her teenage years through painting workshops at ALBA, where she studied under Guvder. The practice of painting became an intuitive form of expression, later deepened by her engagement with theoretical texts and visits to museums in Europe. Despite societal and institutional challenges, she pursued Fine Arts at the Lebanese University’s Raouche campus, where she was mentored by prominent Lebanese artists such as Aref El Rayess, Yvette Achkar and Amine El Bacha. Naufal recalls both moments of inspiration and instances of gender discrimination. Her formative years were shaped by resilience, passion and a deep connection to painting. In 1985, the artist travelled to Paris to pursue a PhD at the Sorbonne under Marc Le Bot, with a research proposal on the impact of war on Lebanese artists. Despite her efforts, Le Bot never responded, and she returned to Beirut due to escalating violence. Over the following years, her art continued to respond to her lived experience, shaped by war. Exhibitions like The Way of the Cross (1986) and Nine Months (1987) focused on survival, maternity and loss. She was part of pivotal events like Beirut Tabaan (1989), which fostered cross-sectorial artistic collaboration. Her works evolved into installations and performances, such as the 1993 happening in a ruined cathedral. She sees herself as a link between generations, concerned by the erasure of artists who remained during the war, emphasizing the lasting relevance of resistance and time.
