Al-Mintar stands prominently as one of the most important commissioned works in the gardens of the Palestinian Museum. Recently completed by the Palestinian artist Sliman Mansour, it was commissioned in line with the Museum’s goal of nurturing our connection with the architectural heritage of Palestine. This work simulates the idea of reviving the construction of mintars, or what used to be described as ‘farm palaces’, scattered across the Palestinian countryside.
Mona Saudi, That is her Image and This is the Suicide of the Lover, #4 from the Homage to Mahmoud Darwish series, 1980, Lithograph and watercolour on paper, 54 cm * 82.5 cm.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
Mona Saudi, That is her Image and This is the Suicide of the Lover-#3 from the Homage to Mahmoud Darwish series, 1979, Lithograph and watercolour on paper, 54cm * 82.5 cm.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
Mona Saudi, The Earth#2, from the Homage to Mahmoud Darwish series,1979, print on paper, 82.5 cm* 54 cm.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
Mona Saudi, That is her Image and This is the Suicide of the Lover, from the series Homage to Mahmoud Darwish #1, 1977, Lithograph and watercolour on paper, 54cm* 82.5.
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Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
My work attempts to maintain the tension between the object of art as an aesthetic artefact and the object of art as the subject of conceptual and reflective observation. Thus, it testifies to the way these two worlds invade one another. I work with different techniques and styles simultaneously and work in the spirit of pluralism and humanism. I want my work to resemble a cleansing and uplifting ritual in a manner not a part of Western culture, thereby opening the viewer to diverse sources and influences.