Curator: Nashwa Lina Khan
This piece takes from archival images of Bousbir - what was essentially a sex prison in Morocco during colonial occupation and news articles from the present about an ‘uncolonized’ Morocco
The role of Moroccan women in the world is one that I explore throughout these pieces and my larger body of work. Haunting occupies social space and our worlds. Colonialism and slavery would not haunt us if it existed as a mere historical fact but our institutions are designed around them and our memories are imbued by them.
Through the use of archival imagery and news articles from the present, I aim to confront the viewer with the lasting effects of colonialism and to question the idea of an "uncolonized" Morocco. The sheer curtain provides a soft barrier that hides the pieces, much like Bousbir in Moroccan history, while also being able to be pulled away to Moroccan women.
The first word learned to write in Arabic (again) as an adult was meaning soul, specifically my soul. These lanterns and Moroccan tile art explores the elusive nature of the soul. The lanterns are designed to emulate the inability to capture the soul. which is a concept deeply rooted in Arab culture. The centerpiece of the artwork is the word "my soul" written in Arabic, which serves as a reminder of the importance of the soul in our spiritual and cultural traditions. The use of Moroccan tile art in various colors adds a vibrant and dynamic element to the piece, reflecting the diverse nature of the Arab world.
Through this artwork. I aim to convey the idea that the soul is a complex and elusive entity that cannot be fully captured or understood. It is a reminder that, despite our attempts to understand ourselves and the world around us, there will always be mysteries that elude us.