A visual narrative of the artist’s life. September 2017- December 2018.
Cities of Salt. 2017
The discovery of oil in Saudi Arabia was a turning point that transformed the way we see ourselves and consume our environment. In this harsh desert climate, salt domes were a great indicator of the presence of an invisible power- natural resources such as gas and oil. The salt in this sense indicates the process of time and future growth and development. On the other hand, the Mormon pioneers in Utah were faced with similar environmental qualities when settling into the Salt Lake Valley. The excess presence of salt threatened their survival. The salt made the land barred and not suitable for growing crops. In both these scenarios, Salt was essential to the survival and expansion of the two faiths and cultures.
The fluids in the human body- the sweat and tears- carry a memory of the ocean. It is similar to the chemical composition of seawater, signifying the origin and evolution of life. Salt is necessary for life, but too much brings death instead. Some destructions are essential. Salt is used to preserve and discourage the growth of unwanted organisms. This dual quality of salt becomes significant to examining other dichotomies of life and death, light and dark, development and destruction.
Excess Baggage. 2017
This sketchbook began after a major personal transition in the artist's life: the passing of her father. It is an attempt, rather than none.
The period the sketchbook was constructed highlights a series of transitions- between places, memories, languages, and identities- resulting in a state of existing in the in-betweens, at the threshold of dichotomies. It is an organic build up of movements in space, time, forms, and textures- an attempted visual construction of a dialectic subconscious narrative through loss, grief, and acceptance.
Collecting the process of transition created an existential physical manifestation of the artist's excess baggage.
هذا الكتاب التصويري بدأ بعد تجربة انتقالية شخصية اساسية في حياة الفنانة: وفاة والدها . انها محاولة بدل عن عدم المحاولة..
فتره انشاء هذا الكتاب التصويري سلّط الضوء على محطات انتقالية بين الأماكن والذكريات واللغات والهويات، أدّت لحالة من الوجود ما بين بين، على عتبة الانقسامات المتضادة. فهذه المسودة عبارة عن تطور عضوي لتحركات بين المكان والزمان والأشكال والخامات- محاولة خلق بنية بصرية لسرد جدلي لاوعيّ عبر الخسارة والحداد والتقبل.
تجميع المرحلة الانتقالية خلق عملاًً فنياً يجسد الوزن الزائد المادي والوجودي للفنانة من خلال هذا الكتاب تصويري.
Emotional Digging. 2016
Digging through the memories, Looking for myself, I am left with the fragments, Distorted, I become Uncertain, unknown I dig with caution, Into myself, so into myself The narcissism, deflects from the pain, The pain is evident, the suffering concealed The love no longer there To heal the trauma of time I am here, but I do not exist The truth has been vandalized, And it will be expressed as such.
Digging through the instances, Through the child's smile, Through the teenage confusion, Through the adult counterfeits, I dig deeper, Into the memories. The memories.... Oh the memories. I let them go. They are not real. I cut into myself deeper, I collect the fragments, I am depressed, regressed, In fear of losing myself again, Only to find myself whole.
Closed for Prayer. 2016
The shops close as the call for prayer echoes. The city is in a sudden halt. Shopkeepers rushing out and closing their shops, leaving behind closed shutters- blank and empty, in silence. There's something beautifully dreadful about it. The city is in a state of meditation. In this sense, the call for prayer becomes a city performance. The shutters closing and opening becomes a performative ritual, a collective transformative experience that is particular to the city and how it is experienced.
All The Gods I Am Praying For. 2016
Still from 'All The Gods I Am Praying For'. 2016
Once, we fell from the sky and landed in Babel. 2015
This monument is not a sacred space. It is rather the center of a spectacle- a sensory experience of dichotomies. It is contemplative space where contrasting yet familiar ideas, objects, and practices are juxtaposed and simulated as abstract codes of values and meanings. This simulation seamlessly creates a collective time-full performance, an indefinite experience of events in the past, present, and future experienced at once, and as a whole. Dichotomies such as modernity and the past, sacred and profane, material and immaterial, labor and leisure, tradition and progress are in contrast, in threat of losing their value and existence.
Commissioned by Sharjah Art Foundation. 2015
A State of Play. 2014
A performative video series that took over the web. The web took over a performative video series.
A State of Play ft Abdullah Miniawy
Photo Credit: Nidal Morra
Imagined Cities. 2008
A collective recollection of Martyr’s Square- Beirut, by different individuals, all describing the space as it was experienced in different periods. The collection of past accounts and experiences of a space that no longer exists triggered the artist to imagine, and allowed her to capture the lost sense of belonging by remembering, forgetting, fabricating, and describing an experience of the city. The memory of a space is being represented through the space of imagination. The narratives are derived from personal experiences of the space and reflect on an everyday dialect between the space and its occupants, offering snapshot impressions that represent a recollected memory, and further, a subjective linear reading of the space. The created narratives of these four imagined cities intends to narrate the memory of a space that consequently becomes a space of memory, an imagined space. By doing so, the artist intended to construct an unattainable city experience through the representations of memory.