Balqis alrashed

مدن الملح | CITIES OF SALT. 2017

BLACK PURE COTTON FABRIC, SALT WATER, SALT.

Cities of Salt examines our dependence on natural resources while drawing out the parallels across vast distances and different cultures in how they overcame obstacles. 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. In this sense, the salt traced the process of time and predicted future growth and development. On the other hand, the Mormon pioneers in Utah were faced with similar environmental conditions when settling into the Salt Lake Valley, yet the excess presence of salt threatened their survival. Salt made the land barren and unsuitable for growing crops. In both these scenarios, Salt was essential in the drive towards the survival and expansion of the two faiths and cultures.

By centering the elemental mineral of salt as the generative engine for the theoretical frame- work, it allows for the exploration of the many ways it interacts within and upon processes of cultural becoming and formation. As a material metaphor, Salt carries the various connections between structures of human society and structures of the natural world: The fluids in the human body – sweat and tears – are similar in chemical composition to seawater, so that both carry memory-traces of the ocean as origin and evolution of life. Salt is necessary for life, but too much brings death instead; yet, when destruction is necessary, Salt is used to preserve and discour- age the growth of unwanted organisms. Salt dissolves in water and becomes invisible, but its presence is sensorially experienced despite its invisibility, paralleling in imagery the invisibility ofpowerful emotional affect underlying all social bonds. The metaphorical/material dual quality of Salt mediates between various dichotomous relationships, such as life and death, the tangible and intangible, the visible and invisible.

BLIND FAITH. 2017

In 2017, during her two-month residency in Salt Lake City, Balqis became intrigued by salt as a material. It soon became apparent that salt, an intelligent conscious living entity, would take over the project, leading the artist on a journey of hardship, overcoming obstacles, and cultivating blind faith in times of uncertainty.

Buckets of salt water were collected from The Great Salt Lake and transported to the artist’s studio to create invisible paintings on black fabric. The salt crystallized and appeared as the wet fabric dried. The artist was drawn to salt not only because of the context but also due to its significance in the history of both Saudi Arabia and the Mormons. Among many similarities between the two cultures, such as the urban centralization of religion and other shared beliefs and practices, salt, as a conscious living material, played a crucial role in driving both cultures to not only survive the harsh environmental conditions they found themselves in but also to overcome all obstacles and thrive against all odds.

The artist ended up purchasing 50 meters of thick pure cotton fabric, typically used to upholster outdoor furniture. However, it was soon discovered that the fabric was water-resistant, leading to disappointment. With no budget left and the opening less than a week away, the artist was initially disheartened. To overcome this obstacle, the artist realized that the protective barrier on the fabric needed to be penetrated. The only way to achieve this was through physically scrubbing the layer off. The artist got on her knees and scrubbed for hours, successfully removing the barrier.

This process became a matter of eradicating obstacles through consistent and persistent activity, echoing the act of cleansing. This tedious and unexpected turn of events ironically reflected the parallels between spiritual and urban cultures in Saudi Arabia and Utah, particularly the symbolism of creativity and the shared history and experiences that connect cities of pilgrimage.

"Cities of Salt" utilized scale, contrast, and the intelligence of the materials to resurrect a memory of human evolution. This performance explored inspired action as a driving force in times of uncertainty and hardship, serving as a mobilization agent through the power of magical thinking. It envisioned the impossible becoming possible and obstacles as points of exponential growth. The process required patience, trust, and blind faith. The artist spent considerable time watching water dry, anticipating what might appear when it did. This required letting go of attachment to the outcome and being engulfed in time and salt, allowing it to create visions through the poetic presence and absence of the material.

SALT KILLS. 2017

Salt is a fascinating body that has its own consciousness. Salt can be experienced. It’s structured yet chaotic. It’s stubborn yet malleable. It carries itself with rigid uncertainty yet behaves in unpredictable ways. You can smell it in the air and its presence is enough to radically influence any environment. It preserves and deteriorates at once. It’s essential but lethal. 

“You are the salt of the earth, but if salt has lost its taste, how shall its saltiness be restored? It is no longer good for anything except to be thrown out and trampled under people's feet.” Matthew 5:13

Salt dissolves in water and disappears. It reappears as the water evaporates. It symbolizes the soul. “You are the salt of the earth”. Just like salt, we were created with an intrinsic worth that transforms in different conditions yet never dies. In this sense, there is no death. There are, we hope, different states of being and dimensions of existence. The visible disappearance of something doesn’t not confirm its permanent absence. Salt can be found in abundance, but its scarcity is detrimental to our survival. We can not create salt. It is found. It’s there, in different states and conditions. When consumed, salt causes thirst and a need for water.