Essaydi is a remarkable international artist; she navigates pervasive cultural and aesthetic dichotomies to make something wholly original — East and West, Tradition and Modernity and the changing perceptions of women. I am excited that these exhibitions are offering similar opportunities for a new generation of young scholars.
Cracking the Orientalism Code: But my work reaches beyond Islamic culture to invoke the Western fascination, as expressed in painting, with the odalisque, the veil, and, of course, the harem.
Women in the Islamic world would not be available for European eyes, except when confined in the exotic world of the Harem — a space somewhere between the real and the imaginary.
I was invited by both galleries to have an exhibition, and I accepted. I want the viewer to become aware of Orientalism as a projection of the sexual fantasies of Western male artists——in other words as a voyeuristic tradition.
In my art, I wish to present myself through multiple lenses — as artist, as Moroccan, as traditionalist, as Liberal, as Muslim.
In preparing this work, I spent some time there, trying to imagine how the women felt who were consigned to this space —and the loneliness, companionship, and solidarity that they shared. Every shimmering item is made of carefully cut and polished bullet casings. In short, I invite viewers to resist stereotypes.
In Les Femmes du Maroc, the artist explores the function of the veil in Islam. However, she subverts those signs by applying Arabic calligraphy to the bodies and cloths of her female models, permitting a re-reading of the stereotypes. Also, by choosing to use a number of women, I subvert their imposed silence.
They gaze into the camera, as if challenging the viewer directly. In her own words, Essaydi explains her art in two sentences: At the same time beauty is what attracts you to the art in the first place… I want to have a dialogue.
From Bullet Revisited, by Lalla Essaydi. The henna painted on their bodies corresponds to the elaborate pattern of the tiles. Women, on the other hand, have been confined to private spaces, the architecture of the home.The Veil Within: the Subversion of Orientalism in the Work of Lalla Essaydi.
Lalla Essaydi, #22, Converging Territories series, Her photographic work offers a feminist critique of Orientalism using the representation of Muslim women under the subversive veil of calligraphy. Lalla A. Essaydi (born ) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art.
She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Jan 19, · Lalla Essaydi: Orientalist Mythology’s Challenger January 19, by quinninmorocco Leave a comment It’s impossible to think about contemporary Moroccan art without hearing Lalla Essaydi ‘s name.
Refuting Orientalism: Lalla Essaydi at Baku Museum of Modern Art – picture feast. Posted on 20/12/ by Mai Ardia. Follow. Lalla Essaydi’s exhibition at the Baku Museum of Art, Azerbaijan, interweaves African and Middle Eastern cultures.
Feb 11, · Lalla Essaydi Lalla Essaydi Photographs Moroccan Photography Orientalist Paintings Orientalism The Veiled Feminism Of Moroccan-Born Photographer Lalla Essaydi Lalla Essaydi is amongst the ever-growing number of women artists from the Maghreb who have garnered international acclaim.
The artist must also be placed, more widely, within a generation of minoritized artists who, often living and working in North America or Europe, explore issues relating to colonialism, gender and identity, particularly plural .Download