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• A DIALOGUE BETWEEN GENERATIONS OF ARAB WOMEN •

• REWIND: REFLECTIONS ON THE ARTIST AS MOTHER •

• IN THE LIBRARY WITH LAURE GHORAYEB •

• IN CONVERSATION WITH HRH PRINCESS WIJDAN ALI •

ARTS / STYLE / CULTURE FROM THE ARAB WORLD AND BEYOND

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A DIALOGUE BETWEEN GENERATIONS OF ARAB WOMEN IN ARTA DIALOGUE BETWEEN GENERATIONS OF ARAB WOMEN IN ART

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141141

THE POWER OF THE IMAGETHE POWER OF THE IMAGESelections talks to six talented female photographers from the

Arab world and Iran whose work spans the gulf between East and West, transcending language and culture to tell universal stories

b y I n d i a S t o u g h t o n

Some of the world’s most talented

photographers hail from the Arab world and

Iran. Today, whether they live at home or

overseas, they find themselves caught between

two regions failing to connect, in a world

where Islamophobia and misapprehensions

run rampant.

Each of the six women interviewed in

this issue deals with this in their own way,

some choosing to address the gulf between

East and West directly in their work, others

approaching it more obliquely. Yet ultimately,

each achieves a similar alchemy — using

photography as a tool, they are able to

transform and translate their personal

experiences into a universal format,

rendering their subject matter accessible

to people of any background, challenging

harmful stereotypes and championing

new perspectives.

Iraqi-American photographer Sama Alshaibi

tells Selections how Arab women in the U.S.

are under siege and reveals details of her

upcoming project, Carry Over, which sets out to

deconstruct colonial images of women from the

Middle East and North Africa.

Iranian photographer Gohar Dashti

explains how her photographs of Iran, rooted

in personal experience and memory, help to

explore Iran’s culture and history in a new light

and why her photographs of humans are bound

up with nature.

Lalla Essaydi, a Moroccan photographer

based in the U.S., details how she employs the

composition and tropes of Orientalist paintings

01: Sama Alshaibi, Ma Lam Tabki (Unless weeping) from Silsila series, 166 × 250 cm, diasec print, 2014

03: Lalla Essaydi,Harem # 10, chromogenic print, 2009, courtesy of the artist and of Houk gallery, New York

05: Rania Matar, Unspoken Conversations - Mothers & Daughters, Elizabeth and Austin, photograph, Boston Massachusetts, 2016, courtesy of the artist

02: Gohar Dashti, Untitledfrom the series Home, 2017, 120 × 80 cm, courtesy of the artist, © Gohar Dashti

04: Nermine Hammam, Dreamland, I, from the Upekkha series, 90 × 68 cm, 2011, courtesy of the artist

06: Randa Mirza, The Year of the Elephant, 2014, diorama, credits: Galerie Tanit and the artist

to provoke viewers into new ways of seeing,

overturning expectations and subverting

Orientalist attitudes.

Egyptian photographer Nermine Hammam

shares her thoughts on how her photographs

inspired by the Egyptian revolution explore

an imbalance of male and female energies

in a timeless style that renders individual

experience universal.

Rania Matar, a Lebanese-American

photographer, explains how her relationship

with her two daughters led to a fascination with

girls and women growing up and navigating

transition and why she makes sure every series

is shot in Lebanon and the U.S.

Finally, Lebanese photographer Randa Mirza

discusses the image as a marker of identity, her

work uncovering the lost pre-Islamic myths that

centre on female power and the artist’s role as

a cultural ambassador.

PHOTO

GRA

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151151

PHOTOGRAPHY

The Beauty of Growing UpThe Beauty of Growing UpLebanese-American photographer Rania Matar photographs women and girls, exploring periods of growth and transition

The process of aging — and the experience, emotional

growth and maturity that come with it — is something we

all experience personally but are often able to observe and

quantify only in other people. This alchemistic process is at

the heart of Rania Matar’s work. Born and raised in Lebanon

before moving to the U.S. in 1984, the photographer has two

daughters and watching them grow and change has inspired

several series of work. Over the past decade, she has

focused on girls and women, capturing their inner and outer

worlds, their growth and evolution, and the relationships

between them.

In A Girl and Her Room, she captured teenagers in their

bedrooms, exploring their increasing need for independence

and their first forays into self-expression. The series was

followed by L’Enfant Femme, capturing the vulnerability and

bravado of girls on the cusp of puberty. Becoming revisits the

same girls a few years later, while Unspoken Conversations

captures teenagers approaching adulthood alongside their

mothers. These photos are particularly captivating due to the

complexity of the relationships captured through a sidelong

glance or a half-glimpsed expression.

“When my older daughter left for college, I realised that I still

feel like I’m 25 but I’m a middle-aged woman and it made me

think quite a bit about my role as a mother changing and the

fact that I’m getting older and she’s growing up,” Matar says.

“There were so many layers to that moment, and then my

relationship with her changed and we became much closer

when she left home. The other personal aspect to that is I

lost my own mother when I was three years old, so I’m really

discovering that first-hand.”

A common thread running throughout the series is

Matar’s decision to photograph women in the U.S. and in

Lebanon for each.

“I’m always hyper-aware of that whole conversation in the

news about “them” and “us” and it seems to keep getting

worse, instead of better,” she says. “Because I live in the West

I feel like a lot of the work people want to see often has this

Orientalist aspect to it — they are still fascinated with the veil,

with war, and I feel like people forget sometimes there are just

normal, regular people who live here, so for me it’s important

to portray that and to portray that universality. Even though

each girl and women that I photograph has such a specific

identity and individuality, there is a universality to growing up

and to growing old and to mother-daughter relationships and

to going through transitions.”

opposite page top: RaniaMatar, A Girl and Her Room Alia, Beirut Lebanon, photograph, 2010, courtesy of the artist

opposite page bottom:Rania Matar, A Girl and Her Room Emma, Brookline Massachusetts, photograph, 2009, courtesy of the artist

above: Rania Matar, Becoming, Samira 17, Bourj El Barajneh Refugee Camp, Beirut Lebanon, photograph, 2016, courtesy of the artist

235.0 x 285.0 mm

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Documents

Placeholder for the AGFA DigiControl wedge - Rania Matarraniamatar.com/publications/pdf/matar2017_Selections.pdf · where Islamophobia and misapprehensions run rampant. Each of the