Stencil cutout; printing


This is a cut out I made which says “Even if the world ends tomorrow, today I shall plant a tree”. This is my own exaggerated take on calligraphy based from my handwriting in arabic. I plan to use this stencil on an exposed screen print, for collaging and as possible backgrounds for future works. I felt the phrase could be used with a number of concepts related to the refugees having to remain optimistic and resilient.

I plan to make more similar stencils, to use for spray painting onto the boxes to build up my collages. For the pieces below I used pieces of thin wood I cut up to drag paint across the paper to create an organic mark, similarly to a method of calligraphy which uses larger, flat and solid tools to write.



I also made beads and stamped letters into small pieces of clay to paint and add onto my collages/sculptures. I used English letters to write phrases or words in both Arabic and English. An aspect of my work that I enjoy; which is that not all can be understood and hopefully leave the viewer with a feeling of unease or curiosity.



Artist research; Shadi Al Zaqzouq

Shadi Al Zaqzouq was able to turn something hideous and painful into something beautiful again. Although the reality of the bullet holes and shrapnel damage on the building are haunting,  Zaqzouq recreates the famous painting by Gustav Klimt ‘The Kiss’ on the damaged building, using the damage as the detail of the piece. This is something I wish to incorporate in my work; the idea that nothing can ever be fully repaired or fixed once damaged, but still holds sentimental value; which in itself is something beautiful; turning ‘junk’ and found damaged objects into art.

Tammam Azzam's version of Klimt's The Kiss 650

This piece by Zaqzouq is a collection of old cardboard boxes with paintings in the bottom of each to create a large collage of his memories and experiences. I had already started to collage with cardboard boxes, by painting and transferring images onto them using text and pictures from old newspaper articles, when i stumbled across this piece of his. I love the use of the boxes as ‘windows’ into snip-bits of life, as I want my boxes to have this effect of what life is really like for example, behind the Palestinian wall.

windows from gaza shadi al zaqzouq

Personal response; sympathy


On the left is a poem that says ‘a storm cannot uproot a forest’; which is how I feel anyone experiencing war may feel, tearing homes apart but not the families. On the right are my thoughts that I painted as I listened to music, and after researching. It says things like ‘oh god, oh poor souls, for the love of god someone protect them’.


The bronze and dark green piece I made is a list of names of some of the thousands of names of children that have been murdered in Palestine recently, alongside their age and what city there were from. On top I stated “they grew up km 166.02 away from me, but never had the chance to”. I did not continue my sentence as I felt there were an endless amount of things that these innocent children, would never get the chance to do.

All of these works were inspired by the pieces that I had done as an emotional response to the articles I read mainly on social media. Videos I watched (ones not normally shared on the news) and music I’d listened to about our generation and the troubles we now face (such as “New Americana” by Halsey). Everything around me recently has been influencing and affecting me emotionally; my art is becoming a way for me to process it all.

Dismaland; protest art + Peter Hapak


An image of some of the signs that had been collected from protests all around the world. This inspired me to look into art in protests and the power they had all over the world.

After researching I discovered Peter Hapaks article and photography series. He documented portraits of people who had been involved in a protest. Each was interviewed and asked to bring something that was significant and reminded them of the protest. I was inspired by the series and have started to collect objects and save articles that trigger an emotion in me; whether its frustration or pain, and am trying to incorporate this idea of an object having a significant sentimental value that triggers pain.

hapak_lightbox_bouazizi1“Mannoubia Bouazizi, the mother of Tunisian street vendor Mohamed Bouazizi, says, “Mohamed suffered a lot. He worked hard. But when he set fire to himself, it wasn’t about his scales being confiscated. It was about his dignity.”


lightbox_hapak_elteneen_solo“El Teneen, a prominent Egyptian graffiti artist, wears a homemade gas mask.”


hapak_lightbox_011-640x426“Ahmed Harara is a Cairo dentist who was blinded in one eye by a rubber bullet during clashes in January. In November, he was shot in his other eye. Now he is completely blind. “As they say in America, power of the people will change everything,” Harara says.”


hapak_lightbox_egypt_dr_protestor1“Yahi Abdel Shafy, left, is a Salafi and a doctor who works in the field hospital in Tahrir Square. Egyptian protester Saleh Mohamed, right, uses a Maalox mixture on his eyes to counter the effects of tear gas.”



“Egyptian protester Nehal Marei. Right, a tear-gas canister in Egypt.”


Printing workshop; collage.


I attended a workshop with second year students on screen-printing, to find the different ways in which I could build up layers and different textures using a variety of different materials, such as drafting film, India ink and paint markers. This was the first test done with a wide paint marker to build up a bold opaque text. I simply wrote my name in Arabic. I then played with different dark cards and cutouts to block out and create a positive and negative space. I did this so I could have the freedom to play around with the composition of my printed collage.


I felt inspired to get more into collaging by layering the prints, as well as collaging 3D objects into my pieces. Using different coloured paints and inks, different papers as well as anything that enables me to build up layers such as tracing paper. The bottom right photo is my outcome from the workshop, which has a background, done using different pressures on the squeegee while printing. The text on top that has been printed is what I transferred onto the screen and then over the dry background. I will be trying this more in the future in order to have multiple and unique card to collage with.