https://lamiaabukhadra.com Lamia Abukhadra Fri, 10 May 2024 12:01:06 +0000 https://lamiaabukhadra.com en https://lamiaabukhadra.com/Home-1 Tue, 08 Jun 2021 15:40:22 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Home-1 <img width="2413" height="1637" width_o="2413" height_o="1637" data-src="https://freight.cargo.site/t/original/i/9ac0e172cb661d683d53d9ad0d410103977931484cb536af8605365a7aef041d/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_4.jpg" data-mid="192730670" border="0" src="https://freight.cargo.site/w/1000/i/9ac0e172cb661d683d53d9ad0d410103977931484cb536af8605365a7aef041d/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_4.jpg" />Photo by Walid Rashid https://lamiaabukhadra.com/The-hammer-seizes-its-actuality Fri, 10 May 2024 12:01:06 +0000 Lamia Abukhadra https://lamiaabukhadra.com/The-hammer-seizes-its-actuality The hammer seizes its actuality <img width="2453" height="1637" width_o="2453" height_o="1637" data-src="https://freight.cargo.site/t/original/i/bf0b86b326aa7b17f77ce646fca14161ac42c298177969ff51d2807c54dcc5fd/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_1.jpg" data-mid="210654572" border="0" src="https://freight.cargo.site/w/1000/i/bf0b86b326aa7b17f77ce646fca14161ac42c298177969ff51d2807c54dcc5fd/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_1.jpg" />Photo by Walid Rashid The hammer seizes its actuality is an ongoing series of works which delve into the construction and montage of images taken in Palestine and circulated in viral social media spaces. These images, meant to document and inform viewers of the daily occurrences of extreme violence, are contextualized in digital spaces which promote the rapid consumption of images-as-content and create a dispersive montage for Palestinian images to exist within. This algorithmically determined juxtaposition creates a context where extrajudicial killings of Palestinian youth compete with cat videos and pasta recipes in a constant stream of content. Additionally, these digital spaces have terms and conditions which shape the way in which the images themselves are photographed, edited, and shared so as to gain priority and viewership within social media algorithms. Images are blurred to avoid censorship by social media platforms and to protect the identities of protesters and freedom fighters from arrest or assassination; emojis draw attention to or conceal certain elements in the image. Speed is essential to sharing information, so people often elect to film screens which play back CCTV footage rather than export the footage, distorting the colors and forms in this doubled recording. Often in life-threatening situations, photographers regularly capture images clandestinely from behind a window. I have been collecting and isolating formal elements that create Palestinian digital images to create a sort of taxonomy. Formal elements such as color, framing, obstruction or distortion of bodies and objects, gestures and lines of movement, digital intervention, light, and shadow, serve as points from which to compose and trigger new modes of sight, making visible the forces that create the images while breaking or slowing the cycle&nbsp;of never-ending circulation and consumption. Rather than informing the viewer of an event, the aesthetic conditions of the event become available to the viewer. These drawings and prints are then presented with their original captions. Works are organized by year. 2024<img width="4032" height="2542" width_o="4032" height_o="2542" data-src="https://freight.cargo.site/t/original/i/4784008c17cfdf9b8f4b20e8a6670e07b8d65ecca1d0437a565e85db2db814c0/IMG_6663-copy.jpg" data-mid="228268422" border="0" src="https://freight.cargo.site/w/1000/i/4784008c17cfdf9b8f4b20e8a6670e07b8d65ecca1d0437a565e85db2db814c0/IMG_6663-copy.jpg" />Curtain (Slow) (2024) Pastel on paper 305 x 163 cm / 120 x 64 inThis piece was produced as part of the Windows series.“Even breakfast cannot be enjoyed #bombing #gazaisunderbombs #gaza #rafah” —@mahmoud_al.saleh, March 16, 2024, Photography by Mahmoud Khaled Alsaleh. <img width="3947" height="2632" width_o="3947" height_o="2632" data-src="https://freight.cargo.site/t/original/i/8906571cc82f3ffe000402e43e88cc31c0336196c3255d7314676e3a95171d58/IMG_6661-copy.jpg" data-mid="228268421" border="0" src="https://freight.cargo.site/w/1000/i/8906571cc82f3ffe000402e43e88cc31c0336196c3255d7314676e3a95171d58/IMG_6661-copy.jpg" /> <img width="3024" height="1856" width_o="3024" height_o="1856" data-src="https://freight.cargo.site/t/original/i/46f184191ef6d2e2a1c5489a1237a080bdc36da528e381b03e3e0c6e47675f47/IMG_6615-copy.jpg" data-mid="228268420" border="0" src="https://freight.cargo.site/w/1000/i/46f184191ef6d2e2a1c5489a1237a080bdc36da528e381b03e3e0c6e47675f47/IMG_6615-copy.jpg" /> Rear Window (2024) Pastel on paper 118.9 x 168.2 cm / 66.2 x 46.8 in This piece was produced as part of the Windows series “This is what Khan Younes looks like in the Southern Gaza Strip right now..continuous bombing, it is noteworthy that Khan Younes is one of the areas marked as safe by the occupation.” – @gazanow, December 2, 2023. Photographer unknown <img width="3198" height="2766" width_o="3198" height_o="2766" data-src="https://freight.cargo.site/t/original/i/222234e19f7c755a407e9abfb5625fadea9f2d32ceab09ec2c92f57bb9e933dd/IMG_6659-copy-2.jpg" data-mid="228268419" border="0" src="https://freight.cargo.site/w/1000/i/222234e19f7c755a407e9abfb5625fadea9f2d32ceab09ec2c92f57bb9e933dd/IMG_6659-copy-2.jpg" />Rumble (Oh God) (2024) Pastel on paper 137x203 cm / 54x80 in This piece was produced as part of the Windows series. “The MoH spokesperson: Over 500 have been killed in the Israeli bombardment of the Baptist Hospital in central #Gaza” –@eye.on.palestine, October 17, 2023. Photography by Motaz Aizaiza. 2023 <img width="14031" height="9921" width_o="14031" height_o="9921" data-src="https://freight.cargo.site/t/original/i/cabe3a8559cc31e8d3387105507b2624001744ae95a0cd32a78fb4fe5e5c1671/bloodstain.jpg" data-mid="210654547" border="0" src="https://freight.cargo.site/w/1000/i/cabe3a8559cc31e8d3387105507b2624001744ae95a0cd32a78fb4fe5e5c1671/bloodstain.jpg" /> Bloodstain (2023) Digital print on paperA2 (42 x 59.4 cm / 16.5 x 23.4 in) “The place where 3 Palestinians were executed by the Israeli occupation forces at the entrance of Sarra village, southwest of Nablus.” – @eye.on.palestine, March 12, 2023. Photography by Wahaj Bani Moufleh <img width="3795" height="2742" width_o="3795" height_o="2742" data-src="https://freight.cargo.site/t/original/i/b763c7ae226edc6ad54f7010c4963c52cb6da08ae2aa29e76cad1f9fa2f675c9/message-to-mother.jpg" data-mid="210654584" border="0" src="https://freight.cargo.site/w/1000/i/b763c7ae226edc6ad54f7010c4963c52cb6da08ae2aa29e76cad1f9fa2f675c9/message-to-mother.jpg" />Message to Mother (2023)Pastel on paper A2 (42 x 59.4 cm / 16.5 x 23.4 in) “‘I love you my mother..Do not have mercy on them.’..the last thing that one of the fighters wrote with his blood during his siege in Rujib, east of Nablus, prior to his arrest..” – @palestine.pixel, August 30, 2022. Photographer unknow <img width="6000" height="7544" width_o="6000" height_o="7544" data-src="https://freight.cargo.site/t/original/i/f314ccf449219cb648131267fa6e7ddafca245acf3fbbe0c4c5bd72103050e88/Blur-I.jpg" data-mid="210654566" border="0" src="https://freight.cargo.site/w/1000/i/f314ccf449219cb648131267fa6e7ddafca245acf3fbbe0c4c5bd72103050e88/Blur-I.jpg" /> <img width="6000" height="7544" width_o="6000" height_o="7544" data-src="https://freight.cargo.site/t/original/i/8729013d82be705d406921da9dc96850aa3a465f29d26c753ec840fb1daa496a/Blur-II.jpg" data-mid="210654564" border="0" src="https://freight.cargo.site/w/1000/i/8729013d82be705d406921da9dc96850aa3a465f29d26c753ec840fb1daa496a/Blur-II.jpg" /> <img width="6000" height="7505" width_o="6000" height_o="7505" data-src="https://freight.cargo.site/t/original/i/54fef20f92a76635c1830320dce51a31c88acef6f0a9fa906d9881648eca53d0/Blur-III.jpg" data-mid="210654565" border="0" src="https://freight.cargo.site/w/1000/i/54fef20f92a76635c1830320dce51a31c88acef6f0a9fa906d9881648eca53d0/Blur-III.jpg" /> From left to right Blur I (2023) Digital print mounted on dibond 25 x 31.5 cm / 9.8 x 12.4 in “Israeli Media: 5 Israeli settlers were injured in a shooting that took place in Ma’ale Adumim illegal settlement east of Jerusalem.”–@eye.on.palestine, August 1, 2023. Photographer unknownBlur II (2023) Digital print mounted on dibond 25 x 31.5 cm / 9.8 x 12.4 in “The Israeli occupation forces execute three Palestinians near Arraba town, southern Jenin” –@eye.on.palestine, August 6, 2023. Photographer unknown Blur III (2023) Digital print mounted on dibond 25 x 31.5 cm / 9.8 x 12.4 in “The Ministry of Health: The death toll in Jenin has risen to 12.”–@eye.on.palestine, July 4, 2023. Photographer unknown <img width="1391" height="2033" width_o="1391" height_o="2033" data-src="https://freight.cargo.site/t/original/i/d29a52049ca534606efc9c4259356ca7e45559c6c1b93519e302339f484b73d3/IMG_2987.jpg" data-mid="210657106" border="0" src="https://freight.cargo.site/w/1000/i/d29a52049ca534606efc9c4259356ca7e45559c6c1b93519e302339f484b73d3/IMG_2987.jpg" />Arrest (2023) Charcoal on paper A2 (42 x 59.4 cm / 16.5 x 23.4 in) “The Israeli occupation forces detain a Palestinian young man after assaulting him in Sahleh street in Hebron.” – @eye.on.palestine, August 14, 2022. Photographer unknown <img width="2020" height="1977" width_o="2020" height_o="1977" data-src="https://freight.cargo.site/t/original/i/0028c32f3e7ea044bc43d329041048f98cb4dd294e9db020e7a200e7e35b2b55/IMG_2950.jpg" data-mid="210654563" border="0" src="https://freight.cargo.site/w/1000/i/0028c32f3e7ea044bc43d329041048f98cb4dd294e9db020e7a200e7e35b2b55/IMG_2950.jpg" />Camera 03 (2023) Gouache, charcoal, conté on paper (43 x 43 cm / 17 x 17 in) “The Israeli occupation forces detain a number of Palestinians during military raids in the occupied West Bank.” – @eye.on.palestine, November 5, 2022. Photographer unknownA raid is carried out in the middle of the night. The video we see, however, is not a video of the raid taking place in realtime, but is instead being filmed by someone replaying surveillance camera footage; the documentation of the raid is mediated by the screen. The effect of this mediation creates a moiré pattern, distorting the image in certain moments and making the pixels of the monitor visible in other. I choose to isolate a still from the first few seconds of the video in which the moiré is most distinct and the bodies of the soldier and the detainee as well as their surroundings are most distorted, making present the digital materiality of the original image as well as the digital circulation of images. 2022 <img width="2413" height="1637" width_o="2413" height_o="1637" data-src="https://freight.cargo.site/t/original/i/a131b6663135a061bac861c503d5b9bf379211fb385b285ccae707be02f60960/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_4.jpg" data-mid="210654570" border="0" src="https://freight.cargo.site/w/1000/i/a131b6663135a061bac861c503d5b9bf379211fb385b285ccae707be02f60960/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_4.jpg" />REDGREENANDBLUE (2022) Pastel on paper 70 x 100 cm / 27.6 x 39.4 in “The Israeli occupation forces attack an entertainment activity for Palestinian children in the village of Ras Karkar, west of Ramallah City, today.” – @eye.on.palestine, April 22, 2022. Photographer unknownPhoto by Walid Rashid <img width="2453" height="1637" width_o="2453" height_o="1637" data-src="https://freight.cargo.site/t/original/i/c369e98a6b5b7a764ae6bf3f1481fcdd2f138d1cfd20fc522b4cf5d607f9e7dd/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_5.jpg" data-mid="210654571" border="0" src="https://freight.cargo.site/w/1000/i/c369e98a6b5b7a764ae6bf3f1481fcdd2f138d1cfd20fc522b4cf5d607f9e7dd/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_5.jpg" />Left to rightPillars (2022) Pastel on paper A2 (42 x 59.4 cm / 16.5 x 23.4 in) “The Israeli occupation forces transfer dozens of detainees from Al Aqsa mosque through Al Magharbeh gate.” – @eye.on.palestine, April 15, 2022. Photographer unknownNights of Confusion (2022) Pastel on paper A3 ( 29.7 x 42 cm / 11.7 x 16.5 in) “✌️الإرباك الليلي في هذه اللحظات في بيتا " “Night confusion in this moment in Beita” – @savebeita, June 21, 2022. Photographer unknownPhoto by Walid Rashid <img width="2392" height="3394" width_o="2392" height_o="3394" data-src="https://freight.cargo.site/t/original/i/e370ff65b151cd9fd120102de524364cd47a4e919f960173915637bc5e51f19e/IMG_0389-copy.jpg" data-mid="210657059" border="0" src="https://freight.cargo.site/w/1000/i/e370ff65b151cd9fd120102de524364cd47a4e919f960173915637bc5e51f19e/IMG_0389-copy.jpg" /> Flag (2022) Pastel on paper A3 ( 29.7 x 42 cm / 11.7 x 16.5 in) For the first time in 20 years, the Palestinian flag was flown over the Dome of the Rock in the Al-Aqsa Mosque in occupied Jerusalem.”–@eye.on.palestine, April 22, 2022. Photography by Abdalafo BassamIn what could easily be interpreted as a symbolic gesture of nationalism, following an escalation in acts of aggression and arbitrary arrests by Occupation forces at Al-Aqsa Mosque during Ramadan 2022, an anonymous individual manages to mount the Palestinian flag on top of the iconic golden Dome of the Rock. Upon closer inspection, one can see that the flag has deep wrinkles running through it in a grid-like pattern, meaning that this individual folded the flag many times in order to sneak it through security checks and later hang it. It is this gesture that I decide to capture, drawing only the folds and the wrinkles of the flag in monochrome. The flag, usually a symbol of nationalism, becomes an image of a gesture. <img width="2453" height="1637" width_o="2453" height_o="1637" data-src="https://freight.cargo.site/t/original/i/27853ac1e36833c94be7502f32c843b366e513aafd1e16bd4ab3131f8d1aef9f/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_3.jpg" data-mid="210654569" border="0" src="https://freight.cargo.site/w/1000/i/27853ac1e36833c94be7502f32c843b366e513aafd1e16bd4ab3131f8d1aef9f/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_3.jpg" /> The Eyes are Wide Open (2022) Conté and gouache on paper A3 ( 29.7 x 42 cm / 11.7 x 16.5 in) “The funeral of the child Amjad Abu Sultan (14) whose body was released [a] few days ago after months of holding it by the Israeli occupation forces.” – @eye.on.palestine, November 26, 2021. Photographer unknown. An image taken from above in 2021, dominated by the color red.The body of fourteen year-old Amjad Abu Sultan has finally been returned to his family and they hold a public funeral for him. Because the Occupation forces kept his corpse in cold storage for several months, his eyes, which are peaking out from under a keffiyeh covering his face, are frozen open, staring directly at the viewer. He becomes a red monochrome; the image of the funeral procession is abstracted, becoming an aerial view of a landscape or a floating object with a multi-tonal shadow.Photo by Walid Rashid <img width="2453" height="1637" width_o="2453" height_o="1637" data-src="https://freight.cargo.site/t/original/i/93ba67bb1b75641b503ecaf4416ba1e09f49f5f9b43a2cf1c0ca344c2ce4e777/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_2.jpg" data-mid="210654568" border="0" src="https://freight.cargo.site/w/1000/i/93ba67bb1b75641b503ecaf4416ba1e09f49f5f9b43a2cf1c0ca344c2ce4e777/EXH_202305_A-Return-of-the-Sun_Lamia_Abukhadra_The-hammer-seizes-its-actuality_2022_Pastel-on-paper--charcoal--gouache-and-digital-print_2.jpg" />Shadow (2022) Diptych, digital print and charcoal on paper Each image is A2 (42 x 59.4 cm / 16.5 x 23.4 in) “The Ministry of Health: A 17 years old boy died of his wounds sustained by the Israeli occupation forces in Jenin city.”– @eye.on.palestine, March 31, 2022. Photographer unknown An image of a seventeen year old boy killed earlier in a raid is taken from behind the bars of a balcony or window. The shadows of the cars around the body are long, suggesting the image was taken in the early morning. The splayed body of the unnamed boy, who was wearing all black, has been blurred to avoid censorship. The combined effects of the angle from which the photo has been taken, the long shadows around the body, and the blurring of the boy’s body, makes the corpse look as if it were a shadow rather than a body. A shadow without a body. My digital interventions enhance and emphasize the shadows in the image. The cars become shadows, the shadows in the image are darkened, creating a flattening effect in which the objects in the image lose dimensionality. The shadow without a body almost seems naturally occurring in this altered image. The static force of the sun, not pictured, but felt through the shadows it creates, is revealed. https://lamiaabukhadra.com/Oversensitivity Wed, 13 Jul 2022 17:39:10 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Oversensitivity Oversensitivity <img width="9709" height="869" width_o="9709" height_o="869" data-src="https://freight.cargo.site/t/original/i/ff8396b33e0522e21bd63049b7e2c57296b8d53eb9e1c6b41914149bbc2209e9/Oversensitivity-Line.jpg" data-mid="150884747" border="0" src="https://freight.cargo.site/w/1000/i/ff8396b33e0522e21bd63049b7e2c57296b8d53eb9e1c6b41914149bbc2209e9/Oversensitivity-Line.jpg" /> 2022 Seven black and white photograms made from videos of varying lengthEach image measures 4.5 in x 2.5 // 11.5 cm x 6.5 cm In the summer of 2021, the fuel crisis that subsumed Lebanon created a cataclysmic atmosphere in which all continuity of daily life was interrupted. It is not clear if it was the state I was in or the state Beirut was rapidly descending into, but I began to perceive the city around me differently. The best way I have been able to explain is through this experience I had multiple times throughout the summer: It is daylight. I am riding in the back of a taxi to a place I have been to many times. We take the major boulevards running through the city, they are roads I am very familiar with. We enter a tunnel, it is pitch black. We emerge from the tunnel and I have no idea where I am. I know where I am, I know where I am going, I know where I was, yet, I cannot recognize my surroundings. After a few seconds, I recover from the feeling of vertigo and I start to recognize my surroundings again. It’s possible that rapidly moving through a pitch black tunnel to suddenly appear into the brilliant light of day was a contributing factor to my vertigo. I had the urge to start filming the experience to try and record this lapse of orientation, to see if anyone else could see what I was experiencing. But the videos do not capture what I see when I go through these tunnels. I exposed photosensitive paper to the videos I took in the tunnels so that these video sequences became single images. The blurred quality of each image and the forms they capture create a sense of movement. Forms are between the recognizable and unrecognizable, it takes a minute to orient yourself within the images, if you can at all. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/7b5e67e8f7ef77a1e7ffe187adeb03eaaf3a100904e50274ad3b32d43b518c5a/july-28-2021.jpg" data-mid="147789249" border="0" src="https://freight.cargo.site/w/1000/i/7b5e67e8f7ef77a1e7ffe187adeb03eaaf3a100904e50274ad3b32d43b518c5a/july-28-2021.jpg" /> 27 July, 2021 20 seconds Tunnel on General Fouad Chehab Boulevard; almost home. No conversation. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/9d8f0733d7dc30519662a082ce6fc61e8d77ab9d874940abc11b20b064a47026/july-27-2021.jpg" data-mid="147789247" border="0" src="https://freight.cargo.site/w/1000/i/9d8f0733d7dc30519662a082ce6fc61e8d77ab9d874940abc11b20b064a47026/july-27-2021.jpg" /> 28 July, 2021 29 seconds Tunnel on General Fouad Chehab Boulevard; almost home. No conversation, wind blows through open windows. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/0bee5ebb250032616bffc7a3b136b22e4d12eed31a2a149bd89f44c163bf291a/august-15-2021.jpg" data-mid="147789243" border="0" src="https://freight.cargo.site/w/1000/i/0bee5ebb250032616bffc7a3b136b22e4d12eed31a2a149bd89f44c163bf291a/august-15-2021.jpg" /> 15 August, 2021 8 seconds Tunnel on General Fouad Chehab Boulevard; almost home. The fluctuating exchange rate is discussed. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/61c2eff6b5388aff74671ede518d345af04d39c0f942a6a4bd6b84a04675624d/feb-19-2022.jpg" data-mid="147789244" border="0" src="https://freight.cargo.site/w/1000/i/61c2eff6b5388aff74671ede518d345af04d39c0f942a6a4bd6b84a04675624d/feb-19-2022.jpg" /> 19 February, 2022 4 seconds Tunnel on Saeb Salam boulevard; going from Mathaf in the direction of downtown. No conversation, wind is especially loud. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/9662ca1708d522f6c88afc31ff6c76ae339e4001a157d5d68114b80c6e9168e3/feb-25-2022.jpg" data-mid="147789245" border="0" src="https://freight.cargo.site/w/1000/i/9662ca1708d522f6c88afc31ff6c76ae339e4001a157d5d68114b80c6e9168e3/feb-25-2022.jpg" /> 25 February, 2022 13 seconds Tunnel on Charles Malek boulevard; going from Basta to Reem’s house. The taxi driver says, “We are history”, “نحن تاريخ”. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/99a87cdf42072126e23f0a41d497728563e9d3b0cc6d0b6f6b6d57f07062c316/feb-27-2022.jpg" data-mid="147789246" border="0" src="https://freight.cargo.site/w/1000/i/99a87cdf42072126e23f0a41d497728563e9d3b0cc6d0b6f6b6d57f07062c316/feb-27-2022.jpg" /> 27 February, 2022 35 seconds Tunnel where General De Gaulle boulevard becomes Saeb Salam; on the way to Mathaf from the sea. No conversation. <img width="2774" height="1589" width_o="2774" height_o="1589" data-src="https://freight.cargo.site/t/original/i/0f56f0ac460b1678eddd190d97853fe5b9587b86919eae1c66ec416c4db452fa/march-26-2022.jpg" data-mid="147789250" border="0" src="https://freight.cargo.site/w/1000/i/0f56f0ac460b1678eddd190d97853fe5b9587b86919eae1c66ec416c4db452fa/march-26-2022.jpg" /> 26 March, 2022 7 seconds Tunnel on General Fouad Chehab in the direction of Achrafieh; going to Youmna’s house. The taxi driver says something with the word “expertise”, “خبرة”. https://lamiaabukhadra.com/Afterimages Wed, 13 Jul 2022 16:22:43 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Afterimages Afterimages <img width="6591" height="4394" width_o="6591" height_o="4394" data-src="https://freight.cargo.site/t/original/i/498fd4418b4d1eb6af4ed1676589da0908851fcdf96720cb7380721f06195045/color-corrected-lamia_abukhadra09_C6A1624.jpg" data-mid="147787020" border="0" src="https://freight.cargo.site/w/1000/i/498fd4418b4d1eb6af4ed1676589da0908851fcdf96720cb7380721f06195045/color-corrected-lamia_abukhadra09_C6A1624.jpg" /><img width="3000" height="3686" width_o="3000" height_o="3686" data-src="https://freight.cargo.site/t/original/i/e069986104d1e7c5dbb891c02d74cbf45a11c73ffecd400c8cdafcb89db71ab7/IMG_2293.jpg" data-mid="147787023" border="0" src="https://freight.cargo.site/w/1000/i/e069986104d1e7c5dbb891c02d74cbf45a11c73ffecd400c8cdafcb89db71ab7/IMG_2293.jpg" /> <img width="3000" height="2039" width_o="3000" height_o="2039" data-src="https://freight.cargo.site/t/original/i/87ba9051f45f927bce97988cb283a1a4c6e536dc34186cd89c6952846ee7d132/redIMG_2152.jpg" data-mid="147787024" border="0" src="https://freight.cargo.site/w/1000/i/87ba9051f45f927bce97988cb283a1a4c6e536dc34186cd89c6952846ee7d132/redIMG_2152.jpg" /> <img width="3000" height="2039" width_o="3000" height_o="2039" data-src="https://freight.cargo.site/t/original/i/b0db26a9e9b10dffaeb3f92c95c00a969860907c73194443d6495029ef294be9/greenIMG_2152.jpg" data-mid="147787022" border="0" src="https://freight.cargo.site/w/1000/i/b0db26a9e9b10dffaeb3f92c95c00a969860907c73194443d6495029ef294be9/greenIMG_2152.jpg" /> <img width="3000" height="2039" width_o="3000" height_o="2039" data-src="https://freight.cargo.site/t/original/i/ade61c0499a056308e80de2aa33be9dca0287669f113b245b33e6f6fa017de4b/blueIMG_2152.jpg" data-mid="147787021" border="0" src="https://freight.cargo.site/w/1000/i/ade61c0499a056308e80de2aa33be9dca0287669f113b245b33e6f6fa017de4b/blueIMG_2152.jpg" /> <img width="3000" height="2039" width_o="3000" height_o="2039" data-src="https://freight.cargo.site/t/original/i/8028adcfca2d644c67a85aa936d4d0ba700b9979c70c1d8dfae1b23f13531caa/whiteIMG_2152.jpg" data-mid="147787025" border="0" src="https://freight.cargo.site/w/1000/i/8028adcfca2d644c67a85aa936d4d0ba700b9979c70c1d8dfae1b23f13531caa/whiteIMG_2152.jpg" /> 2022 Installation of gouache, pastel, and conté on paper, 35mm Carousel Slide Projector, light filters. Pictured drawings: The Eyes are Wide OpenConté, gouache on paper26 November, 2021eye.on.palestineCAPTION: “🇵🇸#Palestine | The funeral of the child Amjad Abu Sultan (14) whose body was released few days ago after months of holding it by the Israeli occupation forces.”Photographer unknown FoldsRed pastel on paper22 April, 2022eye.on.palestineCAPTION: ”For the first time in 20 years, the Palestinian flag was flown over the Dome of the Rock in the Al-Aqsa Mosque in occupied Jerusalem today.”Photography: Abdalafo Bassam Nights of ConfusionBlue pastel on paper20 June, 2021savebeitaCAPTION “✌️الإرباك الليلي في هذه اللحظات في بيتا " “Night confusion in this moment in Beita”Photographer unknown PillarsGreen pastel on paper15 April, 2022eye.on.palestineCAPTION: “🇵🇸#Palestine | The Israeli occupation forces transfer dozens of detainees from Al Aqsa mosque through Al Magharbeh gate.”Photographer unknown REDGREENANDBLUE Red, green, blue pastel on paper 22 April, 2022 eye.on.palestine CAPTION: “🇵🇸#Palestine | The Israeli occupation forces attack an entertainment activity for Palestinian children in the village of Ras Karkar, west of Ramallah City, today.” Photographer unknown This site-specific installation of drawings was created for the Jan Van Eyck Academie's Open Studios, where I presented in the photo studio. I decided to use the tools available in the studio to enhance the experience of "triggered visions" in my work. Most of these images are fragments or elements of photographs I have been collecting from social media during and since the uprisings in Palestine in 2021. Thinking about the red, green, and blue colored pixels on my phone that physically compose the images I see, I isolate certain formal gestures in each image, enhance it and draw it in one or more of the primary colors of light. A 35mm carousel projector changes the color of the light source every six seconds.This change in lighting enters the space of the image and further isolates certain elements in it while distorting others. Drawings start to appear doubled, blurred, completely disappear, appear entirely different, and create new images in the process. The line between the space of the image and the space of the viewer is collapsed as the space and the image continue to interact. Photography by Romy Finke and Lamia Abukhadra https://lamiaabukhadra.com/Not-the-Sunrise Tue, 12 Jul 2022 09:07:15 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Not-the-Sunrise Not the Sunrise <img width="6459" height="4306" width_o="6459" height_o="4306" data-src="https://freight.cargo.site/t/original/i/4aa3b3901c85118e7b32955103a9f734b8c84bf0a6dce36daff5e5f056647142/lamia_abukhadra05_C6A1636.jpg" data-mid="147659980" border="0" src="https://freight.cargo.site/w/1000/i/4aa3b3901c85118e7b32955103a9f734b8c84bf0a6dce36daff5e5f056647142/lamia_abukhadra05_C6A1636.jpg" /><img width="6473" height="4315" width_o="6473" height_o="4315" data-src="https://freight.cargo.site/t/original/i/d05b36553768109728afb4e086f045cc35aa4ab00188e4c3d94e6b00c3c080ab/lamia_abukhadra03_C6A1587.jpg" data-mid="147659978" border="0" src="https://freight.cargo.site/w/1000/i/d05b36553768109728afb4e086f045cc35aa4ab00188e4c3d94e6b00c3c080ab/lamia_abukhadra03_C6A1587.jpg" /><img width="6497" height="4331" width_o="6497" height_o="4331" data-src="https://freight.cargo.site/t/original/i/58f7e9006b7bd9cbc90194c8590dce61965e4189751a4ff64f1e469b0bc2799d/lamia_abukhadra02_C6A1584.jpg" data-mid="147660295" border="0" src="https://freight.cargo.site/w/1000/i/58f7e9006b7bd9cbc90194c8590dce61965e4189751a4ff64f1e469b0bc2799d/lamia_abukhadra02_C6A1584.jpg" /><img width="6526" height="4352" width_o="6526" height_o="4352" data-src="https://freight.cargo.site/t/original/i/ffdd837f41f5047ec63614abfbbdbfcb9451603312785008b422a869045a0d5f/lamia_abukhadra04_C6A1666.jpg" data-mid="147659979" border="0" src="https://freight.cargo.site/w/1000/i/ffdd837f41f5047ec63614abfbbdbfcb9451603312785008b422a869045a0d5f/lamia_abukhadra04_C6A1666.jpg" /><img width="4450" height="4139" width_o="4450" height_o="4139" data-src="https://freight.cargo.site/t/original/i/438d9c7c0ec9c8eb07b8aebbd1013dea2ab153bea6fabda23adec9cb73986789/lamia_abukhadra13_C6A1605.jpg" data-mid="147660466" border="0" src="https://freight.cargo.site/w/1000/i/438d9c7c0ec9c8eb07b8aebbd1013dea2ab153bea6fabda23adec9cb73986789/lamia_abukhadra13_C6A1605.jpg" /><img width="6595" height="4396" width_o="6595" height_o="4396" data-src="https://freight.cargo.site/t/original/i/7fc3b008bd2d8e716b9dd58094150cfa4208078d4350371f9a972b9bd116ac50/lamia_abukhadra16_C6A1650.jpg" data-mid="147659981" border="0" src="https://freight.cargo.site/w/1000/i/7fc3b008bd2d8e716b9dd58094150cfa4208078d4350371f9a972b9bd116ac50/lamia_abukhadra16_C6A1650.jpg" /><img width="6538" height="4359" width_o="6538" height_o="4359" data-src="https://freight.cargo.site/t/original/i/52a0c2fadb5bd3df5450d3f75c87602fc3ef1e59ad5238d45ec6e8bd76952378/lamia_abukhadra17_C6A1653.jpg" data-mid="147659982" border="0" src="https://freight.cargo.site/w/1000/i/52a0c2fadb5bd3df5450d3f75c87602fc3ef1e59ad5238d45ec6e8bd76952378/lamia_abukhadra17_C6A1653.jpg" /> 2022Installation including three spotlights, light filters, rear-projection screen, digital prints, gouache, acetate.158 in x 79 in x 79 in // 400 cm x 200 cm x 200 cmIn May 2021, at the same time mass uprisings were taking place across Occupied Palestine, Gaza was bombed constantly for 11 days straight. After the barrage was over, I became interested in how the situation in Gaza and the images circulating during and after those 11 days were described, specifically photos in which images of the bombings looked like and were described as the sunrise. In an attempt to understand the lineage of these images, I began researching the photographic history of major man-made explosions. I encountered photographic documentation from 20th century US nuclear test programs: the Manhattan Project and Operation Fishbowl. I also encountered testimonies of scientists attending the first of these tests, the 1945 Trinity Bomb explosion, which was decribed as an apocalyptic vision, as if the blast had created a second. The massive explosions that took place during these tests create arresting images which have an awe and fear-inspiring effect. The forms of light and dust shift quickly from one shape and color to another. The explosions themselves are blinding; they can create shadows and silhouettes in the middle of the night.&nbsp; I investigated the aesthetic and political connections between the bombing of Gaza and the atomic tests in the US through the material of light and how it reflects back to our eyes, affecting our perceptions. The primary colors of light are red, green, and blue. When mixed together, they make white light, meaning white light contains all colors. Red, green and blue spotlights shine onto digital prints and drawings made on transparent substrate. The images are sourced from recent instances in Gaza where an explosion either looked like or was described as the sun. The transparencies are collaged and hung from racks, but they and the spotlights are not immediately visible to viewers because a rear projection screen hangs from the ceiling, blocking them from view.&nbsp; The rear projection screen, however, reveals what the combination of white light, deconstructed into its primary colors, and transparent images of bright flashes of light generate: images made of pure shadow. Image credits:13 May, 2021shufat.alqudsCAPTION: “ھذا لیس شروق، ھذه غزة قصفت”, “This is not the sunrise, this is Gaza being bombed.”Photographer unknown 17 May, 2021Refaat Alareer CAPTION: “In Gaza we see the sun a hundred times”Photography: Mahmud Hams 20, May 2021eye.on.palestineCAPTION: “🇵🇸#Palestine || Number of Palestinians were killed and others were injured during overnight Israeli heavy airstrikes that targeted homes in Gaza.”Photography: مصدر الإخبارية (Msdr News) 19, April 2022Bahaa ShammalaCAPTION: “I took the risk to show you the Israeli crimes against us. I took this video for the Israeli warplane bombarded a place near my home.”Photography: Bahaa Shammala21, April 2022eye.on.palestineCAPTION: “🇵🇸#Palestine | A series of Israeli airstrikes targeted several sites in Gaza Strip, tonight.”Photographer unknown Photography by Romy Finke https://lamiaabukhadra.com/Free-As-Air Tue, 08 Jun 2021 14:46:48 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Free-As-Air Free As Air <img width="4031" height="2795" width_o="4031" height_o="2795" data-src="https://freight.cargo.site/t/original/i/f93e5d1bc010d0161cff1ef1827ec60e24aade7dc26003710d038720169fbaf2/Free-as-Air.jpg" data-mid="110746425" border="0" src="https://freight.cargo.site/w/1000/i/f93e5d1bc010d0161cff1ef1827ec60e24aade7dc26003710d038720169fbaf2/Free-as-Air.jpg" /> 2021 Trace monotype on paper17.5 in x 25 in // 45 cm x 63.5 cm In the tale of The Green Bird, an evil stepmother eats all of the food in the house. She decides to cook her stepson into a stew so as not to disappoint her husband who will soon return home from work. The boy’s sister tries to warn her brother, but she is unable to stop the stepmother. As the father sits down to dinner, objects in the house try to warn him of his wife’s misdeeds. Far too hungry to take notice of the talking objects and the absence of his son, the father proceeds to eat his stew. He sucks the bones clean and throws them out the window. The girl, weeping, wraps the boy’s bones in a green scarf and buries them nearby. One day, the girl is overcome with grief and goes to visit her brother’s makeshift grave and decides to dig up his bones. Suddenly, a beautiful green bird emerges. It is her brother, returned from the realm of the dead as a vengeful talking bird. Flying high over a nearby village gathering, the bird tells the town of his father and stepmother’s transgressions. He kills his gluttonous parents by dropping nails into their mouths and lives happily with his sister. Palestinian folktales exist primarily through the oral tradition. There is no fixed version of each story, no original author. They are polyvocal in nature, a form which invokes conviviality and bestows each story with a nimbleness to traverse time and space. In folklore, inanimate objects, flesh, animals, and plants, witness and speak. They take matters into their own hands to stop injustices. Mutation is a formal and conceptual theme throughout. Women can become pregnant by the love of the sun and the moon; bodies of water can transform someone into a cat or gazelle; a child can be born from an olive tree; a woman can turn her lover into a pomegranate seed to avoid being caught by her wicked ghoul husband. Folktales exist in relation with the land(scape), corresponding to known sacred sites (trees, springs, stone mounds) throughout Palestine. Each element is individually printed and pasted/layered together to create a single image from a folktale.Photography by Hashem Abukhadra https://lamiaabukhadra.com/A-warning-of-the-emptiness-to-come Tue, 08 Jun 2021 15:01:18 +0000 Lamia Abukhadra https://lamiaabukhadra.com/A-warning-of-the-emptiness-to-come A warning of the emptiness to come <img width="2912" height="3940" width_o="2912" height_o="3940" data-src="https://freight.cargo.site/t/original/i/a739757c054c9b21e9a8c858f81ae7fc6175d8971b8643dd9782424768438438/A-warning-of-the-emptiness-to-come.jpg" data-mid="110748879" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/a739757c054c9b21e9a8c858f81ae7fc6175d8971b8643dd9782424768438438/A-warning-of-the-emptiness-to-come.jpg" /><img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/4432cecc9f9e0682a55226c9e783e79806da30d6217519b268d76784d20ea55a/LAMIA_DETAILSweb.jpg" data-mid="110748867" border="0" src="https://freight.cargo.site/w/1000/i/4432cecc9f9e0682a55226c9e783e79806da30d6217519b268d76784d20ea55a/LAMIA_DETAILSweb.jpg" />2021 Digital print, colored pencil drawing, cut-out painted with gouache17 in x 23.5 in // 43 cm x 60 cm Wanagiyata (Spirit Island), an island in the Mississippi River sacred to the Dakota people, was mined away and eventually erased to build certain settler colonial infrastructures such as buildings, mills, and dams in Minneapolis. The island had a cap of valuable Platteville limestone, a material used in the early rapid development of the Minneapolis. Though the island’s existence is rarely acknowledged, its stone is likely still present in the old limestone buildings in the St. Anthony Main area along the river, the gentrifying neighborhood where I grew up. I imagine how a single stone from Wanagiyata, no longer able to tolerate witnessing and partaking in these cycles of displacement, mutates, taking on the orange skin of construction cones, in an attempt to stop the endless ends of worlds. Archival images are layered amidst digitally manipulated photographs, construction materials, and my own handwriting to create this new folktale.Photography by Hashem Abukhadra and Emma Beatrez https://lamiaabukhadra.com/Sunrise-in-Wadi-el-Hummus-Twelve-to-Sixteen-Bodies Tue, 08 Jun 2021 15:56:30 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Sunrise-in-Wadi-el-Hummus-Twelve-to-Sixteen-Bodies Sunrise in Wadi el-Hummus • Twelve to Sixteen Bodies <img width="5691" height="4242" width_o="5691" height_o="4242" data-src="https://freight.cargo.site/t/original/i/a6df614cf61144300f34eadfd2b30ac5d44c445cebdc0e63ed1d707b3db3b143/Diptych-LAMIA_-3.jpg" data-mid="110754735" border="0" src="https://freight.cargo.site/w/1000/i/a6df614cf61144300f34eadfd2b30ac5d44c445cebdc0e63ed1d707b3db3b143/Diptych-LAMIA_-3.jpg" /> On July 21, 2019, Israeli Occupation forces came at dawn and forcefully evicted residents of the Palestinian area of East Jerusalem called Wadi el-Hummus, in some cases detonating homes the same morning so residents could not return. A video of one of these evictions shows a group of people pressing their bodies against the front door of a house so that the Occupational Forces cannot enter. Screenshots of this video are placed on a grid, in no particular order and printed in color in Sunrise in Wadi el-Hummus and as digitally manipulated images in black and white in Twelve to Sixteen Bodies. In the short video, these twelve to sixteen people are not successful in holding off the soldiers. In the bottom left panel of the colored print, there is a bright light which corresponds to the moment where tear gas canisters are thrown into the house as the door is partially forced open. The large prints are placed next to each other as a diptych. On the top left of the black and white print are two drawings of the bodies from one of the stills in charcoal and conté on semi-transparent paper, layered on top of one another. The bodies, when layered and distorted, become forms: huddles, shadows, traces, or even rock formations. Despite its temporariness and fragility, this form contains power, giving physical shape to collective acts of resistance. Photography by Emma Beatrez <img width="2975" height="4242" width_o="2975" height_o="4242" data-src="https://freight.cargo.site/t/original/i/b6368f80b6f70393ce7385ee69c13973acff8ded2f2c72a173f81c12007f0fb6/12-to-16-bodies-LAMIA.jpg" data-mid="110754748" border="0" src="https://freight.cargo.site/w/1000/i/b6368f80b6f70393ce7385ee69c13973acff8ded2f2c72a173f81c12007f0fb6/12-to-16-bodies-LAMIA.jpg" /><img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/beca234476e1b368cbaf1f1bd456d0471d17d4eb9f13ac98381077529c43ce85/LAMIA_DETAILS-9web.jpg" data-mid="110834283" border="0" src="https://freight.cargo.site/w/1000/i/beca234476e1b368cbaf1f1bd456d0471d17d4eb9f13ac98381077529c43ce85/LAMIA_DETAILS-9web.jpg" /> 2021 Twelve to Sixteen BodiesDigital print, charcoal, conté on paper18 in X 28 in // 45.75 cm x 71 cm <img width="2718" height="3445" width_o="2718" height_o="3445" data-src="https://freight.cargo.site/t/original/i/65c5a513c1924c43f1d27a86365492e55ccec9b3f1c0f44026254882e81f3cf4/sunrise-in-Lamia.jpg" data-mid="110754794" border="0" src="https://freight.cargo.site/w/1000/i/65c5a513c1924c43f1d27a86365492e55ccec9b3f1c0f44026254882e81f3cf4/sunrise-in-Lamia.jpg" /> 2021 Sunrise in Wadi el-Hummus, July 21, 2019 (2021)Digital print on paper16.5 in x 23 in // 42 cm x 53 cm https://lamiaabukhadra.com/To-destroy-this-house Wed, 09 Jun 2021 06:43:55 +0000 Lamia Abukhadra https://lamiaabukhadra.com/To-destroy-this-house To destroy this house... death. An early death. <img width="5299" height="3632" width_o="5299" height_o="3632" data-src="https://freight.cargo.site/t/original/i/08fdda9658d2f0683f1d3d54331d6c0ea8b31a83214a1b58554fbe7cded1dc8b/LAMIA_-2.jpg" data-mid="110836308" border="0" src="https://freight.cargo.site/w/1000/i/08fdda9658d2f0683f1d3d54331d6c0ea8b31a83214a1b58554fbe7cded1dc8b/LAMIA_-2.jpg" /><img width="6137" height="5174" width_o="6137" height_o="5174" data-src="https://freight.cargo.site/t/original/i/48044a5ab552fb376a0d84065769a75ed58095551f6a167527b0826ee9429e2d/LAMIA_DETAILS-6web.jpg" data-mid="110836203" border="0" src="https://freight.cargo.site/w/1000/i/48044a5ab552fb376a0d84065769a75ed58095551f6a167527b0826ee9429e2d/LAMIA_DETAILS-6web.jpg" /> <img width="7743" height="5162" width_o="7743" height_o="5162" data-src="https://freight.cargo.site/t/original/i/5cda54af3b257e33382085ac11ef0b88482a797ede80323313fda3f437188eab/LAMIA_DETAILS-4web.jpg" data-mid="110836195" border="0" src="https://freight.cargo.site/w/1000/i/5cda54af3b257e33382085ac11ef0b88482a797ede80323313fda3f437188eab/LAMIA_DETAILS-4web.jpg" /> 2020 Graphite, charcoal, dirt on paper12 in x 31 in // 30.5 cm x 79 cm This drawing explores the extractive relationship between settlement and land. Each drawn element was created separately and later layered on top of one another to create visual and formal relationships between text and image. The phrase “To destroy this house... death. An early death,” is a quote from one of the residents of Wadi el-Hummus who was violently evicted from his house by Israeli Occupation Forces in July 2019. Photography by Emma Beatrez https://lamiaabukhadra.com/Mound-Studies Wed, 09 Jun 2021 07:07:34 +0000 Lamia Abukhadra https://lamiaabukhadra.com/Mound-Studies Mound Studies <img width="6267" height="2998" width_o="6267" height_o="2998" data-src="https://freight.cargo.site/t/original/i/5e875bc20e2e0e84e44361157118cea1a46b262a8e109a3b87e05166c60cfa5d/LAMIA_web.jpg" data-mid="110837742" border="0" src="https://freight.cargo.site/w/1000/i/5e875bc20e2e0e84e44361157118cea1a46b262a8e109a3b87e05166c60cfa5d/LAMIA_web.jpg" /> <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/145d9c85724ef0d6cbf0d415c9e1a9a6a33ddf02b349a4839e968115ecf48ba9/LAMIA_DETAILS-3web.jpg" data-mid="110838036" border="0" src="https://freight.cargo.site/w/1000/i/145d9c85724ef0d6cbf0d415c9e1a9a6a33ddf02b349a4839e968115ecf48ba9/LAMIA_DETAILS-3web.jpg" /> Recorded in Palestine as recently as the 20th century, the stacking of individual handheld stones, almost always limestone, into mounds was practiced to mark important interpersonal or communal moments and spaces. The individual stones are called witness stones, from the Arabic word mashahid, the place from which something is seen or the place where a pilgrim testifies his unity to God. According to Islamic tradition, people may ask animals, plants, or stones to testify on their behalf on the day of judgment. The limestone stacks along roads and on top of hills formed a visual network, known to be protective in a landscape inhabited by jinn and evil spirits. To know the meaning of each mound, one must already have an intimate bond with the resident community and a relational understanding of the land. The act of stacking a stone is both individual and collective, intimate and quotidian, permanently inside a stone’s “memory” and part of a fragile, impermanent structure. It is an act of recording, a temporary archive made up of minor figures and moments. In these drawings, the human and nonhuman body mirror one another as witness, as formation, as ruin, and as agent of resistance. Photography by Emma Beatrez <img width="3090" height="4345" width_o="3090" height_o="4345" data-src="https://freight.cargo.site/t/original/i/41704678f286c935a603bc28ce5c73759ef1200db7080978f5fc1a4a712a8e4c/Formations-LAMIA_-6.jpg" data-mid="110837425" border="0" src="https://freight.cargo.site/w/1000/i/41704678f286c935a603bc28ce5c73759ef1200db7080978f5fc1a4a712a8e4c/Formations-LAMIA_-6.jpg" />2020 Formations Graphite on paper 11.75 in x 16.5 in // 30 cm x 42 cm <img width="3531" height="4388" width_o="3531" height_o="4388" data-src="https://freight.cargo.site/t/original/i/4b8823a95c8f3d15fb538316dd214e93d23311cf705e2cb98589b8f4fd225ab0/To-MoundLAMIA_-5.jpg" data-mid="110837461" border="0" src="https://freight.cargo.site/w/1000/i/4b8823a95c8f3d15fb538316dd214e93d23311cf705e2cb98589b8f4fd225ab0/To-MoundLAMIA_-5.jpg" />2020 To Mound Graphite on paper 13 in x 16.5 in // 33 cm x 42 cm <img width="3005" height="4261" width_o="3005" height_o="4261" data-src="https://freight.cargo.site/t/original/i/f30d341665d650961f8625d763e2ff2996b1e3cc27944233b099a20cdb5a1225/ChorusLAMIA_-4.jpg" data-mid="110837479" border="0" src="https://freight.cargo.site/w/1000/i/f30d341665d650961f8625d763e2ff2996b1e3cc27944233b099a20cdb5a1225/ChorusLAMIA_-4.jpg" /> 2020 Chorus Graphite, charcoal on paper 11.75 in x 16.5 in //&nbsp;// 30 cm x 42 cm