AN INTERVIEW WITH THE ARTIST Connecting Worlds: The Art of Maїmouna Patrizia Guerresi Interview by Valerie Behiery, Islamic Art historian, Ph.D.

“My art is a reference to share the beauty, the divine mystery and an inner surface that expressing cosmic beauty heals the diseases of the soul.” (Maїmouna Patrizia Guerresi)

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Portrait of Maïmouna Guerresi / Courtesy of the Artist

Your art is very powerful in its symbolism. Visually rich and carefully constructed, it evokes a mysterious and enigmatic world. There seems to be a preoccupation throughout all your work with the connection between the physical and spiritual realms. How do you understand this relationship?

The veiled figures that I represent in my work symbolize the sacredness of the body as a sacred building, as a “temple of the soul” according to a style reminiscent of some traditional Madonnas of classical European art. These bodies of men or women, I represent them in their upward tension drained from the raw material and they become like Gothic architecture. They are mystical bodies that transcend the temporal dimension to enter the sacred symbolic reality, “true reality” as Rumi says.

In ‘Minaret Hats’, the long minaret-shaped hats sitting atop the sitters’ heads appear to be visual metaphors of the connection we are discussing. And again the human body is depicted as a site where the world of spirit and matter meet. But there seems to be other dimensions to the images which can also be read as playful or as comments on European ideas about Islam. I even wonder if there is an autobiographical dimension to them in that they bring to mind Touba, the center of Mouridism which has constituted an important source of inspiration for you.

For this work, I focused on the highest part of the body which is exposed “to the elements of life”: the Head. I’ve covered and crowned it with a series of artifacts in the form of hat – minarets that I made in the traditional way. There is also an element of ritual, as the hats are made with simple materials and pieces of cloth, collected, put together and then stitched as is the tradition of the Baifall Muslim Sufis of Senegal who manually produce their own clothes. The hat minarets are tall and narrow forms of architecture with which I dress my characters. The figures in the photographs conceal their face with a hand gesture, are blindfolded or simply close their eyes. They seem to draw away from the world to get in tune with the cosmic spirit and divine. The hats are for me like castles or fortresses that protect the head but they can also be seen as an extension of the body, a type of receptive antenna or channel that lead and transmit spiritual energy. One of these pieces, I called Touba Minaret in memory of the minaret of the holy city of Touba.

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Mother Minaret, 2007, Lambda Print, on aluminum, 200×125 cm / Courtesy of the Artist

Your latest photographic series, ‘Illumination’ (2012), calls upon the motif of the whirling dervish to put forth the parallels between the microcosm and the macrocosm, the human body becoming through the dance, both atom and galaxy. Was this work directly inspired by the writing of Rumi?

The character of ‘Illumination’ wearing a white coat with a round base is not just a whirling dervish. It is reminiscent of him of course, but the picture has already become something else. He is a metaphorical representation of the many worlds and constellations where inner beauty and aesthetic appearance are joined together as the symbolic representation of infinity, in a mystical union with the divine universe expanding and contracting like a breath. This circular motion is like a never ending spiral that leads to the dissolution of the self into divine beauty as well as like the mystical knowledge that floods the heart of every seeker, leading to the search for ‘interior illumination.

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Illumination II, 2012, Lambda Print, on aluminum, 120×180 cm / Courtesy of the Artist

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Illumination III, 2012, Lambda Print, on aluminum, 40×70 cm / Courtesy of the Artist

That is a very poetic explanation, thank you very much. The viewer looking at your work always feels that there is something which escapes them and that it is precisely here that meaning lies. This idea of locating meaning outside the image in the mind of the viewer is at the heart of Islamic art. Have you always worked this way? And how did coming to Islam in 1991 affect the way you conceived of both image and meaning?

My early work has to be seen in the context of body art. I was an artist and an art work at the same time. I tried to attain a cosmic contact with the universe, becoming in my performances a tree that mediates between heaven and earth. I identified with nature and with mythical characters like Daphne who, in mythology, turns into a tree to escape the touch of Apollo. As I continued to want to express in my art the concept of metamorphosis but not only of the body, I sought to represent the spiritual transformation in the mystical bodies of the ‘Giants’ where architecture and black spaces become part of the body itself. This also underwrites the recent work whether the ‘Illumination’ or ‘Indian Red Cosmos’ series that I am exhibiting in India in present and upcoming exhibitions. To me it is impossible to divide my most intimate thoughts and my life experiences from my will to express myself through art.

In ‘The Giants’ like in Islamic art, it is the visual sign of the void that denotes meaning. How did this body of work come about?

My first ‘Giant’ character was ‘Fatima’ in 2000. At that time, I wanted to portray an image of a veiled woman who could express through the face alone compassion, mercy, but also the mystery and fear of the unknown and different. I represented the concept with a face of an African woman and called the piece Fatima, a name that recalls both the Holy Christian and Muslim traditions. A few years later, I got this idea of creating different characters with the same common Muslim names of the people who posed for photos, such as Fatou, Kunta, Ibrahim, Mussa, Dauda, but which also bring to mind Biblical figures like Abraham, Moses, David, etc.

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Ibrahim, 2007, Lambda Print, on aluminum, 200×125 cm / Courtesy of the Artist

The spiritual power or role of women is a recurrent theme in your work and it is sometimes expressed through the metaphor and very real mystery of pregnancy such as in the work ‘Genitilla – Al Wilada’. Your expression of female spirituality is reminiscent of Frida Kahlo’s work. Did this orientation develop naturally as part of your trajectory as a woman, artist and Mourid? I know that the feminine is emphasized in Sufism from Ibn ‘Arabi to Tierno Bokar…

In my work, I emphasize particularly the feminine-divine, the great mother, clement and merciful, as God is “like a welcoming womb.” In fact the key word of the basmala – Bismillah al-Rahman al-Rahim, which means In the Name of God, the Clement and Merciful – denotes the feminine. From the root rahima comes rahim which means merciful from which derives the word for uterus: rahm. ‘Genitilla – al Wilada’ is a character who has two names: Genitilla after an ancient pagan festival, and the other al wilada meaning “the pregnant woman” in Arabic. This work shows a female figure wearing a dress and sculpture, with a large central black hole, from where the bubbles come out as many new worlds and light. I also have to say that this is the first time someone compares the spirit of my work with the strength and suffering of the extraordinary artist Frida Khalo. This makes me happy. As far as the feminine aspect of Sufism, I know that in Sufi Islam it is strong but often hidden. In the history of Sufism, however there have been many women of great importance such as the famous 8th century saint and poet, Rab’ia al-Adawiyya, and many others, including the modern great saint Murid, Kunta m’Bache Fal, whom I had the honor of knowing before she passed on to another life.

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The Ligth Signs – Adji and Tree House, 2004, Lambda print on aluminum, 50×62 cm / Courtesy of the Artist

I would like to ask the same question regarding the theme of race in your work. Some see in your images which bring together people of European and African descent, support for intercultural understanding. And this would be confirmed by series such as ‘The Sisters’ (2003-2006). But is your focus on women and men of African descent also due to more personal spiritual and aesthetic explorations?

The photographic series ‘The Sisters’ interpreted by my daughters Marlene and Adji tells the story of two different worlds that are however spiritually similar. The two girls, one black, one white, meet and converse showing the possibility of real communion and family. Adji, a métis with a veil covering her head, identifies herself as an African-Muslim, while Marlene of European Christian heritage has her head uncovered. The sisters are represented in hieratic and mystical poses during intimate moments and undertaking everyday gestures. They too evoke the iconography of the Madonna of the past. I am particularly interested in investigating the infinite possibilities of the human spirit, and, in the case of women’s spirituality, recounting the discomfort, the charm and value of diversity.

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The Black Mountains 3, 2006, Lambda Print, on aluminum, 100x147cm / Courtesy of the Artist

Your work is overtly mystical, imaging dimensions of human experience that have been repressed by the ideology of modernity. I find this mysticism, particularly because it reinstates the role of women in Islamic spirituality, very healing. Do you think that art can help heal the world?

The veil and the mantle are symbols which are closely linked. I called one of my recent shows ‘The Poem of the Mantle’ inspired by the famous poem of Muslim literature the ‘Qasida al-Burda’ composed by al-Busiri in the 13th century. Consisting of sacred verses praising the Prophet Muhammad which, if recited continuously, can bring about healing and miracles. So the continual repetition of the Burda and the veil in my work are like mantras and like the basmala, a formula of enchantment, prayer, thaumaturgy, and dhikr. My art is a reference to share the beauty, the divine mystery and an inner surface that expressing cosmic beauty heals the diseases of the soul.

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Faluka, 2010, Lambda Print, on aluminum,200x125cm / Courtesy of the Artist

I thank you so much for sharing your ideas and art with IAM. When I discovered your work, I was completely shaken or moved… Well, I can’t find the right word because a picture can do what words can’t. It is strong powerful work which like all symbolist art reminds viewers of the depth of life. Thank you.

Thanks to you it was a real pleasure to answer your very deep questions and to share my thoughts and my feelings with a sensitive journalist like you.

http://islamicartsmagazine.com/magazine/view/connecting_worlds_the_art_of_mamouna_patrizia_guerresi/

AN INTERVIEW WITH ADAM WILLIAMSON AND RICHARD HENRY, FOUNDERS OF ART OF ISLAMIC PATTERN Islamic Art Hands-On Interview by Valerie Behiery, Islamic Art historian, Ph.D.

“Learning through doing is critical, it’s not simply about acquiring a critical analytical understanding of the designs. A sensitivity to the contemplative dimension of the work, both as a student and as a teacher, is essential.” (Richard Henry)

There is a resurgence of interest in the traditional Islamic arts. The difficulty for artists in Europe and North America who want to learn and master the arts of illumination, geometric design or arabesque is where to find such training. Adam Williamson and Richard Henry founded their London-based educational enterprise, Art of Islamic Pattern, with this challenge in mind. It offers a variety of courses catering to different age groups and levels in the London studio and around the world, as well as special study trips to cities like Istanbul, Fez, or Granada. Williamson and Henry are both skilled craftsmen who understand the practical and philosophical aspects of Islamic pattern and design. And between them, they have taught at Birkbeck University, Cambridge University, the British Museum, Central Saint Martins, the Slade School of Fine Art and The Prince’s School of Traditional Arts where they both studied. Artists in their own right, they have each received commissions from notable public and private clients.

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Portrait of Art of Islamic Pattern founders: Adam Williamson (left) and Richard Henry (right), Istanbul, Turkey 2014 / Courtesy of the Artists

You established Art of Islamic Pattern in London in 2008. The Prince’s School of Traditional Arts (PSTA) is also now based in London. How would you describe the specific aim and focus of Art of Islamic Pattern?

RH: Our courses have a specific focus upon the Islamic tradition. PSTA looks at the full sweep of world traditions. We are perhaps more with the public facing, in the sense that our courses are designed for the layperson, irrespective of background and we are not formally part of any academic institution. The PSTA is more academic in focus with courses for MA and PhD students. Many of our own students have gone onto study at PSTA.

AW: The courses are primarily practical in nature. There are contextual slide lectures, but the rest of the time students are drawing geometric and biomorphic patterns by hand or with a compass and straight edge. The final stages of courses and trips culminate with creating a work in a traditional medium.

LEFT: Adam Williamson, Sculptural Bench, large twisted oak with inset curving slate carved with poetry sitting on large Portland limestone semi circular feet, Oxford University (commission), England / RIGHT: Adam Williamson, ash sculpture, Geometric Moon Jungle, 2008 / Both images Courtesy of Adam Williamson

Both of you studied with Keith Critchlow, a master geometer and architect who believes in the universal or spiritual aspect of geometry. Is this also your approach?

AW: Keith Critchlow was a great teacher who appeared in my life at the perfect time to connect the dots. His teaching methods seemed purely inspired and intuitive which gave his classes an enjoyable, unpredictable and dynamic energy.

RH: Both of us regard the face-to-face teaching of geometry and traditional art as a form of transmission from master to student. We believe that there is a contemplative dimension to the practical work, which is embodied within the shapes and proportions used. These are the fundamental principles of sacred geometry.

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LEFT: Richard Henry, Damascene Variation, mixed media collage on paper, 120×75 cm / RIGHT: Richard Henry, Working Drawing: Progressive drawings of decagram and Girih motif, 70x50cm / Both images Courtesy of Richard Henry

What is important for you in the teaching and learning of Islamic geometry?

RH: Learning through doing is critical, it’s not simply about acquiring a critical analytical understanding of the designs. A sensitivity to the contemplative dimension of the work, both as a student and as a teacher, is essential.

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Richard Henry, Doha Girih, mixed media collage on paper, 100×100 cm / Courtesy of Richard Henry

Richard Henry, Girih Composition, wooden tiles (oak, cherry, walnut) with incised pattern, 50x50cm / Courtesy of Richard Henry

Many people who want to learn the Islamic art of pattern might be afraid to start for a variety of reasons. What would you say to these prospective students?

RH: Our introductory courses and study strips assume no prior knowledge of Islamic art and are open to everyone. We generally have a mix of abilities on all of our courses and study trips. Our students come from a range of backgrounds and have a broad range of interests and motivations. Some are professional artists or designers seeking to develop a particular aspect of their work, others are from non-art backgrounds who are driven to explore the art and culture of the Islamic world more deeply and there are others who find themselves at a professional crossroads, and wish to change careers to something more creative and more personally or professionally fulfilling.

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LEFT: Adam Williamson, White Sculpture, Hannah Peschar Sculpture Park, England, height, pine, 2008 / RIGHT: Adam Williamson, Stained glass window, Cambridge Muslim College (commission), England, 2012 / Both images Courtesy of Adam Williamson

You and the two other tutors, Lateefa Spiker and Sama Mara, are all practising artists who integrate Islamic pattern into your art in different ways. How do modernity and tradition come together in your art?

AW: We don’t see tradition as something historic but view it as constantly growing and developing, a way to pass down skills and knowledge. This would have been the same view held in antiquity when various structures were developed to teach, for example the guild systems used in both east and west. With the industrialization of much of the world, these systems were lost. People today have an interest in understanding and experiencing these skills, which are now difficult to access. Maybe this is why there is a lot of interest in the courses we facilitate.

imageSama Mara, Installation view of A Hidden Order, Exhibition at The Prince’s School of Traditional Arts, London, 2014 / Courtesy of the Artist

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Sama Mara, Installation view of A Hidden Order, Exhibition at The Prince’s School of Traditional Arts, London, 2014 / Courtesy of the Artist

Education is at the heart of what you do. You, Adam, have been involved with PSTA’s outreach educational projects, most recently –in partnership with Lateefa- , with the Ahousaht community on the coast of British Columbia in Canada. Could you say a few words about this project?

AW: Yes, it has been a pleasure to teach on a series of outreach programs for PSTA. It was a particular highlight to work with the First Nation community of Ahousaht. I have been interested in West Coast art, especially the cedar carving, since I was a teenager.

The aspiration for this project was to allow a wider and deeper sharing of traditional knowledge through the direct language of nature, which informs art, number and geometry. The First Nations have an active relationship with nature. Experiencing and hearing about their rituals and remedies and how they are successfully applied to daily life has been an uplifting education for both myself and Lateefa.

The practical outcome of the three trips was a series craft projects, all using cedar. Cedar has always been seen by the locals as the tree of life. It is used to make cloth and rope and used in house building as well as for artwork. For the first project, we created a series of paintings on woven cedar bark. For the second project, we built a 14×24 foot cedar dome and, for the final project, we carved 50 cedar boards that were installed as part of the Flores Island Wild Side boardwalk trail.

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Lateefa Spiker, Geo Moon Wave, gold leaf on board, 70×70 cm / Courtesy of the Artist

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Lateefa Spiker, Whirling Arabesque, 1×1 m, gouache, acrylic and oil on canvas / Courtesy of the Artist

Students at Work

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Richard Henry and students. In the Hackney studio / Courtesy of Art of Islamic Pattern

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LEFT: Student (Alan Griffiths) at work, Fez, Morocco, 2013 / RIGHT: Student at work, Istanbul, Turkey 2014 / Courtesy of Art of Islamic Pattern

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Adam Williamson and students. Granada, Spain 2010 / Courtesy of Art of Islamic Pattern

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Students at work. Dar Seffarine Fez, Morocco, 2013

http://islamicartsmagazine.com/magazine/view/islamic_art_hands-on/

Calligraffiti Mural by eL Seed on the Sharjah Bank Street Building by Islamic Arts Magazine

Maraya Art Centre, Sharjah’s innovative contemporary visual arts hub, is bringing the striking calligraffiti of acclaimed French-Tunisian street artist eL Seed to the city of Sharjah in a compelling live outdoor street art initiative, Jedariya.

The project ‘Jedariya’, conceived by Maraya Art Centre in aid of beautifying Sharjah’s streets in order to attract more tourists to the Emirates while involving Sharjah’s diverse youth population with the arts, consists of an elaborate painted calligraffiti mural on the walls of the Sharjah Bank Street building by eL Seed.

eL Seed is famous for his unique style of calligraphy – fusing elements of both the graffiti and Arabic calligraphic traditions – which uses complex design to call not only on the words and their meaning, but also on their movement and flow, luring the viewer into an alternate frame of mind. Exhibitions and public wall displays of his extraordinary work can be seen in many locations and landmarks all over Europe, the USA, and the Middle East. The artist found inspiration for the Sharjah art piece in a beautiful poem by acclaimed Iraqi poet Ahmed Bu Snida, a well known and beloved poem in Sharjah.

imageCalligraffiti Mural Art by eL Seed / Courtesy of the Artist and Maraya Art Centre

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Calligraffiti Mural Art by eL Seed, detail / Courtesy of the Artist and Maraya Art Centre

Maraya Art Centre Manager Giuseppe Moscatello, remarked “Street art adds a new dimension to the urban landscape, transforming walls into canvasses that celebrate the culture of the people who inhabit the space. It is a wonderful way to not only add beauty to the everyday but to create a dialogue between the man on the street and the world of art and we look forward to engaging the community and especially the youth in this ongoing project.”

eL Seed has been busy painting the Sharjah Bank Street wall from first light till sundown. To face the vertical challenge of the enormous facade, he is secured in a harness and rappels and abseils around the building – spray-painting, stencilling and creating the mammoth masterpiece in plain public sight. He has also been instrumental in drawing a growing interest from the local youth by live tweeting and posting photos taken from his birds-eye-view perspective.

“We are proud of the immense artistic talent that can be found in Sharjah and remain committed to supporting the arts every possible way. By bringing world class art projects into our beautiful Emirate’s public areas we want to not only foster an appreciation of the arts among all, but also attract artists and art lovers from Sharjah, the UAE, and all over the world as well as encourage and inspire young artists to develop their talents and aspire to greatness.” said HE Marwan Al Sarkal.

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Images from the Launching Press Conference, L-R: Giuseppe Moscatello, HE Marwan Al Sarkal, eL Seed / Courtesy of Maraya Art Centre

imageImages from the Launching Press Conference / Courtesy of Maraya Art Centre

imageImages from the Launching Press Conference / Courtesy of Maraya Art Centre

Maraya Art Centre intends for all projects led under this initiative to have a community incentive, which sometimes can be as simple as merely getting young people involved in the arts, while at other times may require them to actively participate in aid of raising awareness for an important cause, in addition to creating beautiful landmarks in Sharjah

http://islamicartsmagazine.com/magazine/view/calligraffiti_mural_by_el_seed_on_the_sharjah_bank_street_building/.