{"id":14762,"date":"2019-05-28T12:12:50","date_gmt":"2019-05-28T08:12:50","guid":{"rendered":"https:\/\/www.alowais.com\/?p=14762"},"modified":"2019-05-28T12:15:21","modified_gmt":"2019-05-28T08:15:21","slug":"2852019","status":"publish","type":"post","link":"https:\/\/www.alowais.com\/en\/2852019\/","title":{"rendered":"Saudi artist Zahrah Al Ghamdi goes back to her roots for installation at the Venice Biennale"},"content":{"rendered":"
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The artist invokes her family\u2019s shepherding past in her installation of 52,000 leather \u2018creatures\u2019<\/strong><\/span><\/p>\n<\/div>\n<\/div>\n

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In a darkened room, waves of waxy, cream-coloured material hang from the ceilings. Scattered on the ground and climbing up the material are little brown orbs, made of leather circles stitched together. Some are stuffed with cotton wool while concentric designs are cut out in the tops of others. They resemble small little bread rolls or hollowed out limpets \u2013 though the artist behind the work, Zahrah Al Ghamdi, resolutely refers to them as \u201ccreatures\u201d.<\/span><\/p>\n

Al Ghamdi represents Saudi Arabia at its second national pavilion at the Venice Biennale, foregrounding tactility and sensorial responses in her installation. The work,\u00a0After Illusion<\/em>, consists of 52,000 leather creatures that Al Ghamdi made in just three months, with two teams working 12 hours a day to dry, boil, bake, stitch, and stuff the objects. (She led one team, and her husband, who took off work to help, led the second shift.) The experience of \u00adproduction is present: the Venice space is suffused with the smells of cooked leather, while an audio component broadcasts a sound-recording taken from the production process. When visitors tap some of the creatures, sounds play: water dropping, hammers knocking, material being shuffled around.<\/span><\/p>\n

\u201cI have been working with materiality for a long time,\u201d Al Ghamdi says. \u201cAnd \u00adexperimented with different materials, from plastic to textiles, even to dough. When I discovered leather, I began manipulating it and discovered these forms.\u201d<\/span><\/p>\n

Leather is significant in other ways beyond what it offers as a material: Al Ghamdi\u2019s family were shepherds in the mountainous area of Al Bahah in the west of Saudi. \u201cWe were in the midst of nature,\u201d she says. \u201cAs shepherds, we used every part of the lamb.\u201d<\/span><\/p>\n

Al Ghamdi, who received a PhD from the University of Coventry in the UK and now teaches at King Abdulaziz University in Jeddah, frequently uses or references natural elements in her work. An earlier, smaller-scale version of this work \u2013 without the sound element \u2013 appeared in the Athr Gallery show, The Clocks Are Striking Thirteen, under the title\u00a0Mycelium Running<\/em>, 2018, in a comparison between the leather orbs and mushrooms. In\u00a0Inanimate Village<\/em>, 2017, also shown at Athr, she recreated the layout of her family\u2019s former village with lines of sand and dirt. Indeed her past has been an enduring presence in her practice: another work relating to her family\u2019s home, which they left for Jeddah, shows the carved wooden doors of their house, tied shut with bright red rope that cascaded to the ground, as if the place itself were weeping.<\/span><\/p>\n<\/div>\n

The show is curated by artist and academic Eiman Elgibreen, who says she was inspired by Al Mu\u2019alla qat, or the Suspended Odes, a well- known group of pre-Islamic Arabic poems. In one of these, by Zuhayr bin Abi Sulma, the poet returns home after 80 years to find he cannot remember what his house looks like. It is only when he surrenders to his misperceptions that, paradoxically, he is able to rediscover the truth of what he sees.<\/span><\/p>\n

\u201cThe home represents identity,\u201d she says. \u201cTo us Zahrah was a fitting choice because in the previous years we have seen her using very traditional materials, like sand and rocks, that are linked to her identity of her village. She uses these old materials and gives them new life.\u201d<\/span><\/p>\n

The theme is also deliberately apolitical, Elgibreen notes. The artist and professor, who lives in Riyadh,\u00a0says she expected the audience to respond politically to the main exhibition\u2019s exploration of the present moment, titled May You Live in Interesting Times. They deliberately switched tack to focus on sensorial engagement with the work rather than its message.<\/span><\/p>\n

\u201cBeing an artist myself, I\u2019ve been eager for so long to see work that is handmade. We lost that human touch. For me, that is a statement we should use in our pavilion,\u201d she explains. \u201cOur contribution to the main concept was how art could perform in times of uncertainty. My contribution to that theme was we need to regain trust,\u201d she says. \u201cWe don\u2019t want to hold on to the past or make a future that looks like anyone\u2019 else\u2019s, we just want to use what we have.\u201d<\/span><\/p>\n

The Venice Biennale runs until November 24<\/em><\/span><\/p>\n

www.thenational.ae<\/span><\/p>\n

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The artist invokes her family\u2019s shepherding past in her installation of 52,000 leather \u2018creatures\u2019 In a darkened room, waves of waxy, cream-coloured material hang from the ceilings. Scattered on the ground and climbing up the material are little brown orbs, made of leather circles stitched together. Some are stuffed with cotton wool while concentric designs […]<\/p>\n

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