BeYonDerM, 2022
BeYonDerM was an exhibition, primarily composed of paintings, produced from 2018 - 2022 and exhibited at Remote Gallery. 
The exhibition showcased diverse multilayered representations of the human body. Most of the painted characters, both physically and conceptually, transcend proportions of humanism; stretching and contracting within the confines of their skin and the pictorial space surrounding them. Androgynous and quasi-human figures exist in states of limbo, blurring the boundaries between foreground and background, inner and outer, human and non-human. Consequently, language becomes leaky, skin porous and categories ambiguous. The title itself, BeYonDerM, assumes various intonations, evoking notions of transcendence of rationality, sensorial exploration and the dissolution of boundaries. 
BeYonDerM serves as a personal reflection on national, gender and human identity, stemming from my immigration to Toronto in my early adulthood. Many of the pieces reflect my process of collating materials from the world around me, tracing my ever-changing relationship with(in) the new environment. For instance, Synth (2022), playfully integrates discarded synthetic fabrics from various contexts, like, N-95 masks, plastic mesh bags and a skipping rope, bonding the protagonist and the adhered elements physically, but also narratively. Similarly, one of the earliest works, Ripe Roots (2017-2019), collages remnants of paper from my initial months in Toronto, incorporating icons from retail brands like Roots and Air Jordan, thus dissecting language in relation to national and brand identity.
Additional works like Past-ing Time, Palestine (2021) and the two intaglio prints, الشمس والنفس /The Sun and the Self  (2019), delve into the realities of the Palestinian diaspora, in conjunction with my own personal journey of Palestinian identity exploration. A Ceremony (2022) and Push (2022), hung next to one another at the beginning of the exhibitioncontemplate the birth of time, relationships, and the body, ultimately questioning the complexities and politics surrounding emergence. At the heart of the exhibition lies (--> tO Our lOst iNNer childreN (2021). As a result, the sound work invites listeners to engage with the exhibition space from various vantage points. In correspondence with many of the paintings' subject matter, the piece sonically probes the nexus between inner and outer spaces, navigating listeners through temporal shifts and indeterminate locations, evoking a sense of fluidity and exploration.
List of Works
(1). A Ceremony (2022), Collaged Canvas, incense sticks, paper, dried acrylic, acrylic on Canvas, 24” x 24”
(2). Push (2022), Rope, nails, washi paper and acrylic on Canvas, 30” x 60”
(3). Past-ing Time, Palestine (2021), Recycled bread tags, reusable bottle cap, keffiyeh, plaster, pumice, acrylic on Canvas, 4ft x 3ft
(4). (الشمس والنفس (2019 , Varied Edition Prints, Drypoint, aquatint and chine-collé on Rag paper, 9" x 10" (Plate), 15" x 18" (Paper).
(5). Pride (2019), Mixed paper, cardboard, beer bottle caps, and acrylic on Canvas, 24” x 30”
(6). Faded (2016), Screenprint, 12” x 15.5”
(7). Am I Stuck Enough? (2020), Acrylic, washi paper on Canvas, 24” x 30”
(8). Ripe Roots (2017 - 2019), Watercolor, oil pastel, alcohol-based markers, acrylic on mixed collage, 22” x 24”
(9). ana (2020), Mixed paper and acrylic on paper, 10” x 10”
(10). Synth (2022), N-95 masks, plastic mesh bags, pink jumping rope, PVA, washi paper, iridescent paint, acrylic on canvas, 4ft x 2ft
(11). (--> tO Our lOst iNNer childreN (2021), Sound (5 min 38 sec)
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