CLAY WORK
In clay I bond with cathartic earth to heal and be healed, craving serenity and order in restiveness and chaos.
From the ancient Sumerian cuneiform and Uruk’s cylinder seals, to the calligraphy and geometric patterns of Islam, across to Jewad Selim’s Monument of Freedom, Richard Serra’s Snake, Tony Crag’s I’m Alive, Gordon Baldwin’s Seferis and Zaha Hadid’s commanding architecture, I draw inspiration. I aim to produce innovative work that celebrates thoughts, influences and conversations, current yet stretching as far back as time itself. It is this tension between opposites that I find captivating and intriguing.
Further information and a selection of ceramic work can be viewed in this catalogue.
Yalli Imdhai' Wattan • Earthstone and velvet glaze 45cm 2009 Harba Collection Italy
Al-Melik Al-Qud’dous ‘The King The Most Sacred' Asma Allah al-Husna • Earthstone gold 12x49(d)cm 2008
Ainaki Ghabeta Nekheel II • Earthstone, amber glaze and 24K gold 29x40x10cm 2008. Inspired by the famous poem أنشودة المطر (Rain Song) by the late Iraqi poet Bader Shaker al-Say'yab with inscriptions of the opening verses. In this poem he combines his personal tragedy and the sociopolitical tragedy of his beloved homeland, Iraq. His words are as relevant today as the day they were written.
Asma Allah al-Husna (2008) is a clay project in which Faraj specifically draws upon a method of Mesopotamian printmaking dating as early as 5000BC. “This awareness of her cultural heritage grounds her practice in ‘the evolutionary thread of art in Iraq’ to quote Lorna Selim. The personal, intimate nature of her sculpture creates an atmosphere of accessibility and openness, allowing new viewers with no previous knowledge of Iraqi history or art to join that same dialogue with ease. And ultimately, this fusion of ancient and contemporary is well-suited to Faraj’s aspiration to contribute, through her art, to defining the identity of a culture and a people.”
Selected work from the Salat series 2002/3 can be viewed in this catalogue. Salat (series I-IV)
Bism Allah al-Rahman al-Rahim
In anguish and despair…in anticipation of war on Iraq…in yearning for solace and peace, ‘Salat’ was born. Each artwork in the Salat series is a simple and uncomplicated structure which concentrates on the actual composition rather than its construction. I also chose not to apply any glaze, keeping the forms as pure and earthy as possible. Having said this however, they are meant to be exhibited in ‘twos’ as with most of my works - il wihdeh il Allah (Oneness is for God)! Amongst other reasons, this gives them a sturdier more complex appearance. I guess it is the architect in me! Then again, perhaps it is my infinite need to ‘connect’. The work was created following a period of intensely hand-built coiled forms. It was like a breather for me as I found them particularly peaceful, contemplative and fulfilling in comparison with other techniques I employ. The result in my view resembles shapes in worship, in prayer, in Salat. With growing concern, I observe the injustice and upheaval in my homeland…in our world…and I pray; not as a last resort, but as a profound means for the ultimate solution. The Arabic word Salat originates from the word ‘Silla’, meaning ‘link’ (in this instance; with The Creator). It is this link that is at the core of my artistic expression as it is the ‘weakening’ of this link that is at the core of all evil. I would like to see a designated International Prayer Day where people world-over could join together in a collective Salat, whatever their faith, however they choose to ‘connect’. Only then may healing begin…only then may peace have a chance. Until such time, I shall continue to create…I shall continue to ‘Ussalli’/connect, wa ma tawfeeqi illa billah (and my success is only through God). Maysaloun Faraj . June 2003