Artist's Statement

  

The hallmark in my work is the human body, mainly the female’s body. 

From my point of view, the body is not just a concrete fact. But it is a whole system that is imbued with endless elements. History is the main factor that shapes these elements. It is, as though, our bodies are overgrown with events, gestures, fantasies, functions and strategies. Accordingly, the body is a political fact more than a biological one. Furthermore, it is, borrowing Hanna Arendt, a public sphere that reflects the loud speech and, persistently, the silent one. So, the body underlies my comprehension of the world. 

Through my art, I try to bring out the conflicts that fire my world. Consequently, the body cannot be but a repercussion of all these conflicts in this diabolic game. 

But dealing with the human body as a sublime value cannot be understood with respect to me without taking into account the deep mythological association of man’s existence with animals. From a mythological point of view, the animals grounded the human being’s another dimensions which assured his relation to the sacred. Depending upon this view to the animal, I addressed it as a major element in my works, mainly goats, bisons and cows. But choosing these animals backs to the feminine power they represent historically. For example, and briefly saying, the ancient Egyptians looked at the world as an ill founded one if there was not a complete association of Isis and the cow. The same can be said about the goat in the Babylonian world and its derivatives in the Old Testament, reaching to the idea of scapegoat as it is represented in the Islamic culture. 

The project continues further to investigate how patriarchy denied the feminine powers of magic, healing and creation that were acknowledged in the pre patriarchal cults then condemned these powers as acts of witchcraft and sorcery. It will focus mainly on the skill of weaving, knitting and sewing. 

Through patriarchal politics and discourse, the witchcraft and black magic practice were heavily genderised. The witch profile usually fits the profile of a knowledgeable, independent, intelligent and skilful woman. In our contemporary times, strong personality women are still stigmatized with very similar traits: threatening, mischievous and intimidating for their sexuality. 

The ancient female archetypes of creation are to be revived through the contemporary Arab world to empower the activism of young woman seeking justice and social change. 

My art works are travelling experiments through variations of concepts and mediums that address the body, sexuality, dress codes and female powers. I am not fixed to one medium of expression, but I practice drawing, painting, printmaking, soft sculpture, knitting, weaving, sewing, film and performance. 

The thread forms the main element in my work. In this technique, I am inspired by the Greek mythology (Arachne and Penelope), Ancient Egyptian (Isis), and Native American Navajo Grandmother Spider, the feminine archetypes of creation and magic, where the vulnerable world of the male God was always fixed by the female’s threads. But the transition from line to thread in my works is not a random act. Actually, it is a transition that chimes in with my desire to transmit my art from the abstract line in drawing into something else that can be observed concretely. That is, to transmit myself from thinking to action.