Let us in ( ghosts and memories) (2020)
So many things have opened up in my life, a myriad of subtle connections. Yet, I’m still somehow, a loner, a lone nomad that can join many tribes.
During the two-year process that lead me to a MFA in Visual Arts, I read about the archipelago theory of contemporary life.
No human is an island, but part of an island that is part of an archipelago, connected to many other islands, moving back and forth, going with the flow, the currents, the waves.
Virtual connections and intellectual exchanges have intensified at this point in my life, and these disembodied connections are exhilarating and frustrating.
Virtually connecting with the other parts of the archipelago, I find myself physically stranded with the initial tribe, my nuclear family and with it the tangible presence of those I can still be physically close with.
I am blessed to live in a protective envelope and enjoy privileges that allow me to dare, experiment, and thrive.
I belong to the basic nuclear tribe, and to the fluid, immense nebulous tribe of those I call
“creative survivors and thrivers.”
How do I create and thrive?
I use different modalities:
To paint is to assert my physical presence and existence and to process my emotions in a non-verbal way. I do this by using the very concreteness of abstraction, and by re-appropriating a formerly Western male dominated field, Abstract Expressionism.
At age six, a terrorist attack in Paris posed a threat to me my siblings, and my mother.
That threat to my body and life at an early age, became more subtle when I grew up in a female body and had the audacity to become an artist, thus to assert my physical presence as a subject.
To write academically and creatively is to place myself into a greater context, into the larger frame of beings embedded in their emotional, political and historical contexts.
To sculpt, to shape three-dimensional objects, with threads and metal is to play with open-ended multicultural references and traditions.
August 2, 2020