Canadian Art - - Generously Supported By Rbc -

In her re­cent ex­hi­bi­tion “Lat­tice Be Trans­par­ent,” Azza El Sid­dique tapped into the nos­tal­gic prop­er­ties of scent. In the base­ment of 8eleven Gallery, drips of water fell onto a pile of henna. Sur­round­ing this in­stal­la­tion were burn­ing pots of Bakhoor (in­cense), an aroma that elicited a pow­er­ful sense of recog­ni­tion in the artist when she en­coun­tered it in a store in Toronto. The ma­te­ri­als in El Sid­dique’s sculp­tural as­sem­blages act as clues that point to­ward mem­o­ries of her past, traits of her fam­ily and de­tails of her di­as­poric ex­pe­ri­ence as a Su­danese Cana­dian. At first glance, her as­sem­blages of fab­rics, mesh and con­crete blocks ap­pear to be ab­stract ma­te­rial ex­plo­rations in form and bal­ance. But for El Sid­dique, each el­e­ment specif­i­cally ref­er­ences an in­ci­dent or story. She works with rigid ma­te­ri­als in a way that makes them ap­pear pli­able and fi­brous, ref­er­enc­ing her fa­ther’s work as a pulp-and-pa­per sci­en­tist. Act­ing as sculp­tural por­traits, her works demon­strate a nu­anced ap­proach to­ward vi­su­al­iz­ing per­sonal his­tory and fam­ily an­ces­try. Azza El Sid­dique a/s/l 2017 Glass, pri­vacy film, cin­der blocks, vinyl, safety net­ting, la­tex paint, plas­tic cord, ther­mo­plas­tic, spray paint and hy­dro­cal Di­men­sions vari­able PHOTO YUULA BENIVOLSKI

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