The artist, who is fond of the late Khayashi and Al-Khadrawi, believes that “glass is a fragile carrier, and this is the characteristic of a transparent and pure human being. It gives you its truth, just like glass, even if you hurt or shatter it.”
This was the beginnings of the visual artist and researcher Ghazi Hosni, as he recounted something with the brilliance of memory, creativity, and enjoyment, saying about his extravagant stories about drawing and art in general, “My beginnings were in a number of children’s clubs in Sousse... Hadhramaut was the incubator of my childhood... It was a wonderful experience in the children’s clubs in the youth centers, where I learned to draw and then I was in high school at the institute, so I delved into the game of drawing, including drawing behind glass “peinture sous verre”.
It is a good thing that a friend from the Netherlands sent me today a work that she had painted when I was 17 years old, specifically in the year 1989. I met her and gave her this painting, and she kept it all these years (34 years)... This is the beauty of coincidences in the wonderful game of art. My passion for drawing and my fascination with its fascinating work was coupled with my love for the ancient city of Sousse, where tourists buy paintings that are like the art of painting on a glass background. This art was popular and distinguished artists included Al-Khadrawi and Al-Raqiq, may God have mercy on them.
After this stage, I traveled to Europe, and I had with me my passion for drawing, including oil and watercolors, as well as painting on glass. When I went to Germany, I trained in the aforementioned fields to have a joint exhibition with the young artists there in 1998. They learned that I paint on glass and asked me about Khayashi. And Al-Khadraoui, and I was happy with that, and I returned to Tunisia to continue my university education at the Higher Institute of Fine Arts in Sousse, within the specialty of ceramics, due to the absence of the specialty of painting behind glass, which remained in my heart, as I had several exhibitions in oil and acrylic painting...and in the year 2018 I returned to painting and crystal, and I had a personal exhibition in Paris. In 2018, followed by a personal exhibition in Sousse in 2019 in the spaces of the Cultural Center in Sousse. During the year 2022, I held a number of collective exhibitions, including a joint exhibition with the visual artists Naima Qizani, the artist residing in Paris, as well as the artist Lubna Bougla, in addition to participating in the exhibition of the Union of Tunisian Plastic Artists, and a commission was acquired for me. Purchases from this year’s exhibition in Mahdia.. I worked on the content and what is abstract in relation to painting behind glass, and my dealings with this type of art has a Sufi side in what is related to the spectacle and the visible and what is transparent and for greater depth.”

"This type of art, for me, breaks the rule in dealing with the usual drawing technique due to the element of privacy. There are restrictions on this technique, in which the material is mixed to create completely desirable shapes. Glass is a fragile carrier, and this is a characteristic of man as well. The transparent and pure man gives you his reality, just like glass, even if you hurt him or hurt him. I destroyed it, and in this area of dealing there are touches and flavors of Sufism. The matter is not arbitrary in this dealing, and I see from there that a person must preserve his purity and his unchanging image.. As for my academic path, it is very important, as well as for the artist in general, because what is theoretical and what is applied are two parallel lines to open horizons. Especially in art and dealing with materials, themes and techniques... and so on, and this is especially in contemporary art, which is based on the idea within multiple readings, as the material has become the essence of the subject, but rather the subject itself... I consider that the artist who practices drawing and art in general and does not have a theoretical side can present a work, but He cannot talk about it and justify it aesthetically or artistically. It is necessary to be saturated with the theories and history of art, and these are the advantages of academic education, and this is exactly what happened to me.”
Artist and researcher Ghazi Hosni studies at the Higher Institute of Fine Arts in Sousse. He is a member of the Tunisian Fine Arts Union. He has participated in numerous seminars and demonstrations related to the fine arts, in addition to his participation in exhibitions, including his personal exhibitions, as well as group exhibitions such as national workshops for young plastic artists, international workshops, and “History” workshops. Tunisia 3000 Years” and workshops on 100 influential figures in the history of Tunisia, in addition to exhibitions in France and Germany.
This is part of an artist’s journey that took him from an old, renewed childhood to the worlds of art, including painting behind glass, which made his passion grow to continue on this path of questioning, searching, and creating, where art has that open wandering over elements, objects, and details with much intimacy, nobility of art, and its breathtaking beauty.