NAJLA EL ZEIN: OPACITY, TRANSPARENCY AND EVERYTHING IN BETWEEN
by Anissa Touati
In the realm where boundaries dissolve, Najla El Zein’s sculptural work attempts to deploy poetic embodiments of the in-between – a liminal space where dualities coalesce or dissolve, interrupting harmonious wholes and the formation of stable identities. The curves and folds of her artworks suggest a continuous flow, as if the material itself is still in the process of becoming, frozen in a fleeting moment before its next metamorphosis. Najla El Zein’s sculptures seem to inhabit a liminal realm where matter is neither solid nor liquid but a delicate and yet still unstable balance between readily identifiable physical states. It summons the primitive strength of worked stone, rooted in its origins. Glass unfurls in fusion, born like liquid fire, shaping and freezing gestures. The malleable form of clay, on the other hand, is a call for the metamorphic power of the kiln, solidifying the ephemeral. All these forms are born either from reduction, metamorphosis, or accumulation. They are intermedial embodiments of an isthmus in perpetual motion. Najla El Zein’s work echoes the theorist Donna Haraway’s concept of “staying in the trouble,” which is deeply intertwined with notions of engagement with in-between spaces and multiplicities. No longer rigidly bounded or dichotomous in their thinking, they advocate staying in tangled or superimposed spaces, thresholds that destabilize binarities. Najla El Zein emphasizes the importance of various factors that contribute to the final result: “Each element in the process of working with these three materials shapes the final expression of the artwork: the stone as canvas, the deliberate sculpting gestures, the type of tools, the drying time of the clay and the seasonal influences, the glassblower’s breath, and the synergy of the team. These factors, guided by unseen forces of nature, embody the vitality of the present moment, making the artwork a testament to the dynamic process of existence.”
El Zein’s metamorphic works merge individual forms into an interconnected singularity. Contrasting textures, opacities, and lines dance together, resonating with the conceptual spaces explored by philosopher Mohamed Amer Meziane: “In El-Zein’s work, the in-between seems to be the very condition of the instant. The material seems to have become fixed in a spontaneous moment and place. The movement of the material is thus given form which manages to stabilize a living material without ever letting it die, to objectify a movement without immobilizing it. The material always opens a breach within the form that constantly questions its fixity. There is a spatial but also a temporal dimension to the in-between. The instant itself is between the past and the future which already saturates a present that is always in the process of passing, of abolishing itself. The concept of in-betweenness has become central for contemporary art and theory partly because it has helped generations to think beyond forms of totality, interrupting both binarism and the attempts to reconcile them, troubling fixed ‘identities.’ El-Zein’s work gives us a view of several dimensions of liminality on the border of space and time.”
The idea of time as interstitial can help us understand the immediate physicality in El Zein’s work. She invites us to revel in the tactile and to appreciate the malleable becoming of form and texture – El Zein’s sculptures as a visceral, embodied state of being are a provocative embrace of the body and its curves, of its undulations and their unapologetic presence in the world. In Najla El Zein’s hands, clay, stone, or glass are a poetic invitation to embrace immediacy – a reminder that true existence lies in the transitional spaces between, echoing the philosophical resonance of the liminal as a site of resistance, critique, and endless becoming. Territory between territories, El Zein founds her work, where “sensitive gestures” meet “sensitive horizons.” They emerge from primordial elements and interpenetrate that of another, a mutual nourishment and interaction, each drawing strength from the other, in the heart of the present.
Family of three
Ceramic is a material of mystery and chance. Every step in the process, whether done with intention or left to happenstance, determines the ultimate outcome. The crafting process demands patience, trust, guidance, faith, and a sense of surrender, requiring acceptance of the material’s inherent independence.
Family of three is composed of three seat elements that appear to be in a soft embrace, without clearly defining their relationship. Two parents and a child, two children and a parent, or maybe three siblings. Throughout the creation of the piece, from shaping the clay to cutting its forms, applying the glaze, firing, reconstructing, and assembling, the piece evolved into what it was always meant to be: three bodies in gentle motion towards one another, raw, vulnerable, and exposed. The glaze finish invites a deeper look into the piece’s formation, its skin, its texture, its truth.
Group of five
Group of five is a handcrafted stone sculpture, composed of five seat elements, that aims to explore the notion of group dynamics and the narratives they weave. At first glance, the elements present as a cohesive group with distinct personalities. Viewed from different angles, new forms and curvatures reveal themselves, enriching new layers of discovery and understanding. Up close, subtle touches and movements become evident.
Crafted from a particular typology of travertine, the stone’s undulating veins enhance the sense of connection and flow among the five characters, creating an atmosphere of whisper-like conversations.
Group of five, 2024
38 3/4 x 133 3/4 x 76 inches
98.3 x 340 x 193 cm
Edition of 5
Lovers bench
Carved from Ceppo stone, a unique geological formation of compressed marble fragments, Lovers bench embodies more than mere materiality. This rare typology from the Ceppo quarries features large fragments in over a dozen colors, illustrating at its core a tale of interconnectedness. The combination of the stone and its shape results in a surprising piece that highlights the natural beauty of the material. It represents a moment of intimacy and conversation between two elements, almost as if one is gently rousing the other from a deep and restful sleep. The crafting process, slow, meticulous, contemplative, requiring a full collaborative understanding of the intention, mirrors the bench’s serene expression.
Ensemble
Working in the hotshop is a stirring and unpredictable experience: high temperatures, fumes, flames, constant movement, and an unsettling sense of the unknown. Shaping glass is a captivating process, transitioning from a state of liquid to solid, encompassing a world of elements. Each day presents new stories, as glass holds the ability to capture fleeting instances and bears witness to an ephemeral passage of time.
Ensemble takes its name from the musical connotation, crafted much like an orchestra. Each participant brings their distinctive individuality and personality into the process, navigating through synchronization, choreography, and heightened sensory awareness. It is about harmonizing with uncertainties, understanding the fluidity of the medium, and the interconnectedness of the glassblowing team, while allowing the material to encapsulate these enigmatic moments in each piece.
Results often defy predictability, yielding distinctive compositions with each new execution. It is the unique qualities and complexities of glass that enable the works to materialize and convey such profound understandings.
9 1/4 x 6 1/4 x 5 inches
23.5 x 16 x 13 cm
8 3/4 x 8 1/2 x 7 3/4 inches
22 x 21.5 x 20 cm
Ensemble n° 9, 2023
Glass
10 1/2 x 7 x 4 1/2 inches
26.7 x 17.8 x 11.4 cm
Ensemble n° 10, 2023
11 5/8 x 5 7/8 x 6 1/8 inches
29.5 x 14.8 x 15.5 cm
n° 11, 2023
9 7/8 x 7 3/8 x 5 1/2 inches
25 x 18.7 x 14 cm
n° 12, 2023
9 1/4 x 8 5/8 x 7 inches
n° 15, 2023
12 1/4 x 7 1/2 x 7 1/2 inches
31.2 x 19 x 19 cm
n° 33, 2024
11 3/4 x 5 1/4 x 6 3/4 inches
30 x 13.5 x 17 cm
n° 34, 2024
12 x 6 3/4 x 5 1/4 inches
30.2 x 16.8 x 13 cm
9 1/4 x 6 x 6 1/2 inches
12 1/2 x 11 x 6 1/2 inches
32 x 28 x 16.8 cm
13 3/4 x 5 1/2 x 5 1/2 inches
9 1/4 x 7 1/2 x 6 3/4 inches
23.3 x 19 x 17.2 cm
Glass
12 1/2 x 5 1/2 x 3 3/4 inches
31.5 x 13.7 x 9.7 cm
11 x 7 x 3 3/4 inches
27.8 x 17.6 x 9.4 cm
Artist Statement
Opacity, transparency, and everything in between reflects on one’s initial perceptions, misunderstandings, and the necessity to decipher the layers beneath, as truth often lies between the lines. The title of the exhibition came to me long before its form or direction materialized, representing my persistent quest for a deeper understanding of life’s intricacies. This exploration naturally extends into my artistic expression, where I seek to methodically break down and interpret these observations.
Opacity, transparency, and everything in between gained particular significance during my initial foray into working with glass, a material that always fascinated me for its ability to encapsulate life from within. Unlike stone, which reveals the historical and slow geological passage of time, glass captures and preserves the magic of a fleeting moment. Delving into the crafting process of stone, glass, and ceramic all equally requiring a team of skilled craftsmen emphasizes that the works do not spontaneously come to life. Rather, they require a collaborative effort where individuals engage in dialogue and establish deep connections. Manual work demands dedication, passion, and reflection, with each piece telling its own narrative within the multiple layers of creation.
The complexity of “everything in between” would not be translated into words. Hence, my objective with this series of works is to convey such understanding and nuances through the dimensions of time, space, materiality, light, reflection, use, touch, and emotions, hoping to discover answers and provoke new questions.
My profound interest in human relationships is rooted in a situated context. I draw inspiration from my surroundings – those I live and work with, my roots, and my current environment. Everyday experiences contribute to an ongoing learning process. Opacity, transparency, and everything in between serves as a testament to that journey, weaving together personal reflections with material explorations. The diverse mediums of stone, glass, and ceramic enrich this artistic venture, allowing the authenticity of each material, through a particular subject, to express its true essence.
