 |
||||||||||||
  画廊赞助商 出版物 学校参观 学校奖项 访客信息 联系方式 会员
|
||||||||||||
|
| ||||
 |
||||
 |
||||
 |
||||
 |
||||
陈列您的艺术作品给每天无数的访客观看
|
||||
|
| Sundus Abdul Hadi | |
I am a young Iraqi-Canadian painter. Born in 1984 to Iraqi parents, I have divided my time between the Middle East and Canada for most of my life. My work is heavily informed by ancient and modern Arab art history AND contemporary media portrayal of Arabs. |
|
| 关于此艺术家 | |
My paintings are political landscapes that depict and comment on the current state of war torn Iraq. I draw my inspiration from ancient Sumerian reliefs and fresco's, bridging the ancient visual style of my region with media images of modern-day Baghdad. My work is social commentary on issues of representation, media manipulation and war desensitization. |
|
| 按此以放大图像 (假如你已上传更大的图像) | |
Baghdead
2007 |
','Image'))
|
| From the "Warchestra" series, a project that aims to appropriate media images and transform everyday images of war and destruction in Iraq into objects of culture. |
|
Zuhur Hussein
2007 |
','Image'))
|
| From the "Warchestra" series, a project that aims to appropriate media images and transform everyday images of war and destruction in Iraq into objects of culture. RPGs become clarinets in an environment that channels history, occupation, and war dead. |
|
Samarra (Mesopotamia was Robbed)
2006 |
','Image'))
|
| "Samarra" is a response to media manipulation and the questioning of how Iraqi's, Arabs and Muslims are depicted in today's media. For this piece, I referenced Islamic manuscript compositions and contextualized it with the 2006 bombing of the Holy Mosque in Samarra, Iraq. |
|
The Battle For Sumer
2005 |
','Image'))
|
|
This painting is a mammoth sized political landscape of Iraq circa 2004. I used two points of visual reference for this painting. The first being Sumerian sculpture and Assyrian fresco, and the second, personal photographs that I had taken during my time in Iraq. "The Battle for Sumer" is an attempt to break the stereotypes associated with Iraq, those of war, poverty, ‘uncivilization’ and oppression, and line it up with its rich history and heritage. It expresses my vision of Baghdad after experiencing it first hand. |
|
Inanna in Damascus
2008 |
','Image'))
|
|
"Inanna in Damascus" is a reinterpretation of “The Slave Market” (1867) by Jean-Leon Gerome. It has been re-imagined as the modern day depiction of the Iraqi prostitutes that are being exploited daily in clubs, brothels and hotels around Damascus.
The original Orientalist painting by Gerome is an apparent representation of a transaction between slave merchant and buyer of the 'slave' woman in the centre. It is set in an unnamed Arab country, but its assumed that it existed in Gerome’s imaginary Orient. I chose this particular painting to re-imagine for numerous reasons. It is these same connections of pimp and client, the soldier and the politician, and the Arab businessman that existed in the 19th century and today.
In "Inanna in Damascus", I chose to expose the sex industry that is currently running rampant in Middle East due to the consequences of the 2003 war in Iraq and the resulting exodus of refugees. Syria is currently housing the most refugees out of Iraq's neighboring countries, with over 1.5 million Iraqi's taking refuge there. Prostitution has become both an industry and a form of slavery, with stories of Iraqi girls either getting sold by desperate families, duped by shady 'pimps' promising them decent jobs, or out of the woman's lack of options as a refugee in a strange land without a breadwinner, and without the right to hold a working position. Inanna, the female figure, is the Sumerian goddess of sexuality and war, one of the most revered goddesses of pre-Islamic Mesopotamia. The painting represents the Arab World's most undiluted oppressor of Women, and also their most frequent client, the Saudi 'Wahabi' man. Also present is the American soldier, a reminder of the War across the border, and of the chaos that ensued out of his governments presence in Iraq. Finally, the pimp stands behind Inanna, while all four stand in front of a Syrian cityscape in the Ottoman-esque courtyard of a nightclub aptly called "Al Hurman", defined as 'the forbidden' from Arabic, with its roots in the words "Hareem/Harem" (def: women's quarters), and "Haram" (def: sin).
|
|
QANUN (Law)
2008 |
','Image'))
|
| From the Warchestra Series. Blast Wall versus Zither (Qanun). The word Qanun in Arabic also means LAW. |
|
The Forgotten
2008 |
','Image'))
|
| From the Warchestra series. Traditional Iraqi Maqam Ensemble meets hostage video. Culture taken hostage- the loss of culture. The forgotten ones. |
|
Keys of Return (Gaza 2009)
2009 |
','Image'))
|
| Also from the Warchestra series, this painting is about the war that Gaza endured at the turn of 2009. Grand Piano's and clarinets replace the weapons but do not take away from the destruction that Gaza and her people suffered. White phosphorus clouds hang over the city. |
|
| 教育程度与个人自传 | |
| Graduated from Concordia University (Montreal) with a BFA in Studio Art and Art History in 2006. I am currently completing a Graduate Diploma in Communication Studies from the same University. I have exhibited in Montreal, Ottawa, Boston and Rhode Island. | |
| 未来的展览 | |
| I have been awarded the VIVACITE grant from the Conseil des Arts et des Lettres du Quebec in 2008 to produce and execute the WARCHESTRA series. | |
| 网站: www.myspace.com/sunduga | |
| 如果你有兴趣联络此位艺术家, 请按此 | |
按此 传送此个人档案给你的朋友 |
|
下一位艺术家
回到上面
回到您的画廊首页
回到首页
|
|
)
)
)