REEM ALNASSER
Q. Your art is deeply influenced by your personal experiences. Could you share a specific moment or incident that had a profound impact on your artistic journey and the themes you explore?
Personal experience is important in artistic rhythm, as it is inherent in the narrative process in all its dimensions and the correct vision of time And related topics. Therefore, I see that this is a means of personal and temporal documentation of my condition and what trends are occurring in it. I see myself interested in time and the topics that I discover have a curiosity in history, antiquities, literature, and their relationship to place. It was a very beautiful event when I found that there is a convergence between the area in which I live, which is an agricultural area, and the forms of decoration surrounding it, and with this, I began to see that my artistic works aim to archive art in a way that suits the narrative. Research and questions that search for the identity of the thing and the origin of the behavior in it.
Q. Your use of diverse mediums, from photography to graffiti, is intriguing. How do these various forms of expression contribute to the depth of your artwork, and how do you decide which medium best captures the essence of a particular narrative?
The choice of media comes after extensive research because in artistic practice, I am interested in dealing with the same mediator present in the situation after understanding the psychological, psychological, and archaeological dimensions and their connection to the situation. Here comes the question about what is the appropriate artistic style and appropriate situations to embody the situation and what is the goal that I want to convey.
Q. Your work is grounded in anthropological study. Can you elaborate on how this approach informs your artistic process? How do you bridge the gap between the practical aspects of social sciences and the more abstract concepts like time, space, and astrology in your creations?
Through studying anthropology, it was important for me to understand behaviors, what they are related to, and how they arise. All of this led me to ancient civilizations, the close relationship with the sky, stars, and planets in their behavior.
Q. You often use yourself as a subject in your studies. How does this personal involvement contribute to your understanding of culture, gender dynamics, and interpersonal relationships? What challenges and rewards come with being both the observer and the observed?
Using myself as a subject for study is very important for my measurement process to understand the projections and experiences that I go through. I try to isolate prior impressions from the thing and try it for the first time. All of this made me more understanding and flexible in how to connect things to each other and more loving to reconcile with the true meaning behind things. It is like learning a special language. His behavior and vision on more than one dimension on the personal level make me deal with a new medium in every experience I go through without prior rules and live a beautiful journey of experiences and expectations.
Q. Your installations often explore the guiding symbols and meanings in our everyday lives. Can you share an example of how a particular symbol or theme manifested in your work and the significance it holds within the broader context of your artistic Exploration?
Symbols and meanings are very important in understanding the trends associated with the land and time in a particular period. An example in my recent work, The Shine of the North, is the symbols found on the gates of Mada’in Saleh, which represent the wings of eagles. The wings, with different directions, carry multiple meanings related to the directions. This helped me to investigate them through the names of the Arab stars, which surprised me that they exist, and then