I Artist Statement
From early childhood I developed a fascination for clay. I realized that working with clay enlightened me spiritually and emotionally which, in turn, influenced my creativity. Clay became the media in which I could express thoughts and feelings and through the artistic studio practice I develop my own working methodologies and visual vocabulary, mostly within the Vessel - Body - Sculpture spectrum. Creating in this versatile field allows me to manipulate traditional forms into 'embodied objects', either as part of series, or as individual figures. The evolution of the works guides me towards a never-ending morphological research of interior and exterior; color and shape; light and shadow.
As an emerging artist from the Middle East, archeological remains and pre-historic artifacts turned into conceptual aspect in my art. Antiquarian connotations from my local surroundings as well as objects from my personal domicile could be transformed in a process of contemporary interpretation that occasionally associated with multicultural references. Such transformations inspire me to dig deeper into myself and uncover my 'personal-sphere.' These ‘inner-excavations’ revealed narratives, memories, personal sediments, and identity components that constitute the iconography of my art.
My creative process encompasses visual and the conceptual aspects as well as research into materials and techniques. In an innovative perspective, qualities and aesthetics of traditional techniques demonstrate the predictability and randomness of ceramic materials, their processes, and their broad limits. Revived traditional Mediterranean techniques and computer-aided design, confluence in a challenging way, are visually enchanting, and can be considered ethical and meaningful devices for the preservation of ancient crafts.
I wish to create interactive installations that would reflect my individual and experimental voice while simultaneously communicating with the viewers and granting them full autonomy to activate my artwork, to form a narrative, and become part of the artwork itself.
"A pot thus 'contains' both the reality of materials and process, and the inner realities of man's sense of identity in relation to his own world of meaning".
Rawson, P. (1971). Ceramics. Oxford University Press. P. 8
