This project explores the relationship between three elements: the distance, the “Kareem” bird,
and the cage. The relationship between these elements is consolidated and framed from the
perspective of personal stories and daily life in a context where the colonial dimension is always
present.
The concepts of distance and boundaries form the basis of this project, represented via a piece
of Plexi engraved and folded using heat. The idea of folding comes as an attempt to bring the
distance closer and freeze it. It is inspired by folding the headscarf; a process that requires two
people, one of whom is stationary, while the other moves until the distance become close.
Through this work, I try to freeze this proximity to bring the distant one closer. The idea stems
from the time I studied in Damascus. Families were meeting on both sides of the ceasefire line
on Mother’s Day. People were in large numbers. To distinguish individuals, it was agreed upon
to use colors.
“Karim” bird, on the other hand, occupies a certain status in the religious community in the
Golan. It is a symbol of heritage and popular practices rooted in the past. It also represents
everything familiar and ordinary in daily life. I always wondered where the rituals of marrying
the male and female birds came about!
The ornamented cage is a spatial metaphor for a context that embraces an ideal and happy life,
even though behind all the trimmings and decorations, the metal bars still emerge.
Installation work
Mixed media
2019- 2022
This work is supported by Ettijahat - Independent Culture
Resin and folded Plexiglass
2019
Time: Mother’s Day
Location: Ayn al-Tineh, also called the “Hill of Shouts” on the ceasefire line
bordering the village.
Through the telescope I was looking for a colour in the place we agreed upon
on the opposite side. Families used to gather on both sides of the line, and over
less than one kilometer, people met and exchanged news.
My Mother was waving with the blue scarf.
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