ᐯ
/ selected works
her in sighta pace of heads, a space of body
olive leaves memories
eternal witness
current sea
home shell
ode to elisar
structural fluidity
gated oasis
shattered light
contours on collective consciousness
shattered horizon
folds unfolding
balconies of beirut
this sea is mine
thought-books
fortune tickets
/ photo
border wallbitter flight
tranquil tragedy
mourning dusk
and then we rose
rose portraits
here
/films
/ about
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Her In Sight
2024
This work was done during the Bait Shouaib Residency by Athr Foundation, in Al Balad, Jeddah, KSA.
These prints are all one of one large negatives hand printed within the roshan-turned-camera-obscura in the Bait Shouaib residence. The roshan has historically been a space for women to see while remaining unseen, looking into the public while remaining within the privacy of one’s interior space. By print- ing images directly onto silver gelatin paper from the light bouncing in from the exterior, which in this case is that of Bait Nassif and the courtyard, the process reflects the function this architectural roshan element lends itself to.
The line between what is public and private are materially merged through the medium of light entering the porous roshan space to suggest the more interwo- ven relationship of our sight to space.
a pace of heads, a place of body
2024
single channel video, 1:48:21
This work was done during the Bait Shouaib Residency by Athr Foundation, in Al Balad, Jeddah, KSA.
The bedspace, is an area that is ubiquitous and personal, a space where our attention is surrendered to the realm of the subconscious. It is a space that holds many tensions, a space of dreams and nightmares, and a space of comfort and discomfort. By weaving my body into the bed frame using a green ribbon, i contrastingly create a cage-like enclosure that offers a safe space of imagination. But by having the material be that of a green screen, it opens the potential for this enclosure to be infinite in its potential representation. The material green becomes immaterial in its overlay of video, the green screen then insinuates a multitude of possibilities, it also references the virtual world which has become a sort of collective subconscious, but also a place where our attention is pulled, and our rest interrupted. The virtual world is also one way we enmesh the outside world within our private sphere. informed by Tricia Hersey’s “rest as resistance” i’ve been thinking about the ways in which rest has been robbed of us, and thus the space of dreams, imagination and resistance.
Olive Leaves Memories
2024
Commissioned by MMAG and exhibited at How to Time Travel curated by Rana Beiruti, assistant curation Ranwa Abughoush.
Paper, olive leaves, plastic, thread, silver gelatin paper
23x30x1.90 cm
Olive Leaves Memories is a folding book that pays homage to the olive tree in a time when unfolding violence has empeded what should have been a sacred harvest season.
The handmade book holds space for the olive tree and recalls its stories through a visual record of its traces and marks. By embedding the leaves within recycled plastic and using them to form photograms, it is a multifaceted and collaborative endeavour between the artist and the olive tree. The book itself is bound with threads dyed with pigment extracted from the olive leaves.
The book is a call to listen to the land and its memories, with particular reference to the olive tree, its ancestral significance and its capability of outliving generations.
All the leaves used were collected from a tree in the backyard of the home the artist grew up in.
an eternal witness
2023An Eternal Witness is a site-specific installation about the materiality of an architectural place and its afterlife. The piece visually deconstructs the pillar of Fenaa Alawwal, exteriorly revealing materials (rebar and foam) that are usually embedded within or in between structures and boundaries, out of sight. The urban fragments are mostly taken from the artist’s childhood home and some from around Riyadh. The use of renovation remnants draw on the perpetual reshaping and growth of the city at large, as well as a reminder of the memories that these materials hold. Each piece is a fragment of a larger story. The plants are all types of jasmine, a plant that has adapted tremendously all over the globe as can be seen by its variations placed alongside one another. It is a memorial of a past home and a reminder of its eternal decay and rebirth.
