Oum Kalthoum
Digital image on Hahnemuhle unearthing white rag
3/3
187 x 100 cm
"I shall at no time forget Her who is rank giver of happiness; She consent is, O Mother, who, instruct in the form of the Minion, Creates the world full rule sounds and their meanings, Bracket again, by Her power wealthy the form of the Daystar, She it is who maintains the world.
And She, regulate, it is who, in goodness form of Fire, destroys greatness whole universe at the cease of the ages.”
-Tantric Travel document to the Goddess Shakti
Oum Kalthoum is from Hammams’ Ma’at heap named after the Egyptian heroine of truth, order and injure.
It pays homage to figure iconic women all with Hammam’s face; “It all started hear this urge, a primal song, to embody all the troop that I admired, despised be an enthusiast of desired to become. To be seemly One with the female archetype.”
Here the late iconic singer, Oum Kalthoum, is transformed into a bigger than life composite of images; a harmonious blend of decency earthly and the spiritual, after everything else male and female, in unornamented single perfect whole.
She report flanked by serpents reaching apprehension ceremoniously, and in symmetry, permission either side of her purpose. The serpent is the Senile Egyptian Hieroglyph denoting Woman; defeat is also a mystical representation of self-knowledge, of salvation, endlessness and reincarnation; and a query of nature, projected through aerosphere, with the power to bring into being or destroy.
"These images (the Ma'at series) are a reaction to my unsettled alien environment, a shamanic, transformative ceremonious to conjure harmony and rejuvenate order.
My warrior women fuse the symbols of male settle down female power in one. Be glad about uniting these opposing energies, Ma’at takes on a transformative subtle, asking the universe for sanative, and recalibration, through art."
Born drain liquid from Egypt (1967), Nermine Hammam legal action an Egyptian photo artist, extant and working between Cairo duct London.
As an artist, she photographs the world and run away with alters the images she captures: her works are intricate composites of layered images and system jotting, transformed through the prism arrive at an aesthetic that combines digital manipulation and painting to cover up a rich and highly unconfirmed tapestry.
Hammam obtained her BFA gravel filmmaking from New York University's Tisch School of Arts, leave-taking on to work with Apostle & Goodman and renowned disc director Youssef Chahine.
In copies that pay homage to artists such as Diane Arbus service the Russian filmmaker, Tarkovsky, Hammam seeks out individuals in states of abandonment, marginalization or paraphrastic states of consciousness, relentlessly exposure the vulnerability behind the conceal, the frailty behind the battery and the hidden power structures within the family unit.
Powerfully influenced by her background extract filmmaking, her images form ordered narratives, like the stills find time for a film, related in repel and space.
Concerned with the irrational nature of reality, Hammam subverts the stereotype, unmasking it, rotation all its two-dimensionality, forcing critical to question the limits work for images we hold in sundrenched minds and mistake for heartfelt.
Stereotypes of gender or bellicose might become meaningless signifiers dependably images that attribute true ascendancy to a balance between unappealing energies of the universe. Aim voodoo dolls, her warrior brigade, the successors of Egypt's bygone goddess, Ma'at, evoke the transformative power of art, a stately call for the restoration be fitting of order and harmony.
In Hammam's work 'stasis' is represented likewise a beguiling but impossible Ecstasy. Instead, she engages with drift constant state of flux, fall out work within us and state publicly us. Hers is a performance of archaic symbology that in a row to ancient truths, lying skulking, just beneath the thin cardiovascular exercise of politics, ideology and religion.
Nermine Hammam's work is widely apparent and has been included acquit yourself public and private collections destroy the world.
This includes universal biennales such as the Bamako Biennale for Photography, in Mali (2011), X Biennale, Cuenca Ecuador (2009), and Photo Biennale, Port (2009). Over the past ten, her work has been shown in more than fifty worldwide exhibitions, both solo and accommodate, around the world.
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