The making of memories: Syrian artist Sara Naim uses material from her homeland to create striking abstract imagery

Sara Naim at the The Third Line gallery in Dubai. (Supplied photo)
Updated 16 February 2019

The making of memories: Syrian artist Sara Naim uses material from her homeland to create striking abstract imagery

  • “Building Blocks”, Sara Naim's second solo show, runs until February 27
  • She exists in a world far beyond the realm of classical photography and is often considered a visual artist rather than a photographer

DUBAI: Nostalgia takes many forms. For the Syrian visual artist Sara Naim, those forms are jasmine, soil and Aleppo soap.

All three are central to her second solo exhibition at The Third Line in Dubai, “Building Blocks” — which runs until February 27 — but not in the way you’d expect. 

Using a scanning electron microscope, Naim has captured the cellular structure of all three substances, magnified them, and mounted the resultant imagery on wood and plexiglass. She has also deliberately included glitches — formal distortions and light leaks — producing imagery so abstracted it is no longer recognizable. These abstract examinations create the wall works of the show and hint at the imperfection of memory, while in the midst of it all are a series of structures made from 4,000 bars of Aleppo soap.

“I think the idea of warping something that’s familiar into something foreign allows you to shift the viewer’s perspective and to reshape how they think of nostalgia,” says Naim, who was born in London, raised in Dubai, and currently lives in Paris. “Because nostalgia operates in a way that’s no longer linked to the original information. The memory of something changes the more time has elapsed and the more you think about it. You can also become consumed in thought and therefore lost in it. 

“You assume that the closer you come to something the more familiar it becomes, but actually you become more distant because it’s so abstracted. For example, some of these are looked at 50,000 times magnified, and at that scale you’re further from its truth.”

In many ways “Building Blocks” is as much about identity as it is about nostalgia. All three of the elements used by Naim may be familiar to her — the jasmine and soil are from her grandmother’s garden in Damascus — but the memories they trigger (through smell primarily) are also perceived as foreign. This is due to her international upbringing as much as it is to the conflict in Syria, which has kept her away from the country for the past eight years. 

“I’ve always said I’m Syrian,” she says. “I don’t feel like I’m British, I don’t feel like I’m from Dubai. My blood is Syrian. I completely connect with the land and the people even though there’s an interesting acceptance issue in Syria. Because they don’t consider me to be Syrian really when I’m there and even if I meet a Syrian here or elsewhere they feel disconnected from me. And (vice-versa).

“I met a British woman recently who has a house in Damascus and she’s been going there for the past 20 years. She was telling me about the street that she lives on and where she goes and I didn’t even know those places. And it was such a shame for me to feel like I’m more removed from my country than an expat is. But it’s all the nature of circumstance.”

The exhibition is, in essence, a continuation of Naim’s wider body of work, which utilizes the transmission electronic microscope and the scanning electron microscope to create ‘abstract quasi-photographic imagery’. It’s a practice she says “dissects how proportion shapes our perception and notion of boundary.” 

She exists in a world far beyond the realm of classical photography and is often considered a visual artist rather than a photographer. It’s a point of classification that she herself has debated.

“I used to correct people when they introduced me as a photographer, hoping that ‘visual artist’ would give me more freedom,” she admits. “But actually embracing it as photographic allows me to enter into the very dialogue I want to be a part of. Why are cameras made with a rectangular frame? Why are prints framed the way they are? Why is photography considered two-dimensional when it fundamentally uses space and time? I have rid myself of those restrictions, but my work is still photographic.”

Naim is in the final stages of preparing for the exhibition when we meet. The soap has yet to arrive, the towers have yet to be built, but everything else appears to be in place. Although she looks tired, occasionally passing her hand through her hair, she is chatty and affable. 

“The names that I’ve given these are not the final names,” she says as we meander through the space. “So, this is ‘Form Six,’ but in my mind — before I named them — it was just ‘Color.’ This was ‘Flower,’ this was ‘Diptych,’ this is ‘Bed Sheet,’ this was ‘Horizontal,’ this was ‘Squiggly,’” she says with a laugh. “Unfortunately I couldn’t keep it like that. ‘Bed Sheet’ wasn’t really flying with the gallery either.”

Far from being universal in shape, each form imitates a topography that Naim has encountered during her scanning process. A process that, in one way or another, Naim has been deeply involved with for the past 10 years.

Initially, it wasn’t so much the scanning electron microscope, or even photography, that Naim was interested in, but the idea of ‘false lines.’ 

“The skin seems as though it separates the body from its internal anatomy and external world, but — in fact — it’s almost like a collision of two energy forces, and on a cellular scale there is no such division,” she explains. “And how you represent that lack of border or boundary is by going down to the cell and having them look like something foreign — like a foreign landscape, or something macro.” 

It is this notion of the non-boundary, the interconnectedness of matter, that drives Naim’s work.

“I like to play with the viewer’s perspective in terms of scale, subject matter and form, but everything must be precise and sterile in order to actually convince someone to shift the way they see or think. A good dancer makes the choreography feel effortless; I try to use that concept in my work,” she says. “If the viewer begins by asking me about the process of how they were built, then that’s my fault. I’ve lost them to rationality rather than abstraction.” 

 


Bahraini singer Mo Zowayed: ‘I’m not the sad and tortured type’

Mo Zowayed started singing when he was about 25. (Supplied)
Updated 36 min 42 sec ago

Bahraini singer Mo Zowayed: ‘I’m not the sad and tortured type’

  • The Bahraini singer-songwriter discusses his latest album and keeping busy in lockdown

 

MANAMA: Mo Zowayed’s email signature bills him as “Singer. Songwriter. Sleeper.” But the sleeping part of his repertoire is clearly not top of the 31-year-old Bahraini’s agenda.

Even in lockdown he’s busy, having recently taken part in an online concert to raise funds for Bahrain Animal Rescue Centre. (“I don’t know what life would be like without dogs and I’d rather not find out,” he says.) There’s another scheduled for the end of May. 

He’s also just gone live with his “Viola Sessions” — a series of five original tunes from his latest album,  “That Good Love,” released in November, captured at a local club — and he’s performing Instagram Live sessions every Saturday afternoon, besides writing a bunch of new material.

His dad is an oud player and his grandfather Mohamed is a respected folk singer. (Supplied)

It’s no surprise Zowayed ended up as a musician. His dad, Yusuf, is an oud player and his grandfather Mohamed is a respected folk singer. His own musical journey, though, began with a spot of bribery. 

“I started when I was 13. I struggled a bit in seventh grade with my math grades. My parents agreed to buy me a guitar if I managed to turn my grades around,” he says. “It was tough, but I did it. I got the guitar.” He’s now an accomplished player of several instruments, including mandolin, banjo, trumpet, ukulele and harmonica.

He didn’t start singing until he was about 25, though. He cites acoustic artists including Jack Johnson, Jason Mraz and Ben Harper as major influences. “I just loved the way that they could express themselves with just a guitar and (vocals). So, I started practicing like crazy,” he says. 

His own musical journey, though, began with a spot of bribery. (Supplied)

Unlike many regional musicians, he was always set on writing and performing his own material, rather than covers. “I’m still surprised when I meet a good musician who doesn’t write their own stuff,” he says. “For me, it’s the most enjoyable part — there’s no feeling like performing a song you’ve written and having some of the audience singing along.”

Zowayed quickly established himself on the Bahrain music scene. “I started by accepting every single gig. I played everywhere — every little dingy venue. There were some well-known bands in Bahrain, but they played a couple shows a year, tops. I just wanted to put myself out there, and I was one of very few people doing that. What makes me happy is that almost every band in Bahrain is doing that now. We’ve got a community of working musicians who are on stage all the time. I love seeing that.”

His work ethic and determination eventually landed him an American tour — something few independent musicians from the Middle East manage to achieve. “I spent months emailing, calling and messaging venues in the US. I must have contacted over 100 venues and festivals. I didn’t give up, even after 50 rejections — no exaggeration. I just kept trying.

He cites acoustic artist Ben Harper as a major influence. (AFP)

“Eventually I was offered a spot at Farmfest in Michigan. That gave me the motivation to keep trying to book shows. We played in Colorado, Michigan, Iowa, Nashville, Alabama and Ohio. It was the most surreal time.”

From there, Zowayed and his “incredible band” The Moonshiners, got offered a support slot for UK star Jools Holland at London’s iconic Royal Albert Hall in 2017. “I just can’t overstate how magical that night was,” he says. In December last year, he and The Moonshiners were back on tour with Holland and played several shows of their own in the UK to support the release of “The Good Love.”

He cites acoustic artist Jason Mraz as a major influence. (AFP)

That album has evolved from the folky roots of Zowayed’s debut EP “New York Times,” partly because he’s playing an electric guitar, but he describes it as a natural progression. 

“I really wanted to make an upbeat record, because that’s the kind of music I’m into these days. I’m a pretty upbeat guy,” he says. “I’m not the sad and tortured type, and I’ve realized that’s okay, I don’t need to be.  As soon as I embraced that, the songs started pouring out. The result is an album that gets me excited every time I hear it.” 

Zowayed’s goal is to be a touring musician, and he recognizes that that could mean leaving the GCC. “It’s simply not possible in the Middle East when it comes to non-Arabic music,” he says. 

But his local fans don’t need to worry just yet. “I’m on a mission to put out as much music and as many videos as I can and play as many shows as possible,” he says. “And I hope to see everyone at a live show once we kick this virus in the behind.”