Reflecting on the potential of expression in traditional craft . By Rania Fouad
Projects presented to The Prince's School of Traditional arts : Art Jameel Programme at the Foustat Centre in Cairo in the years 2013-2014
Project 1 Wood work and Marquetry Project March – June 2014
The beginning, the end, the manifest and the hidden. The seer and the listener, all is Him, He is in everything yet He is beyond, there is nothing else, everything is Him; abandon the duality of me and you, see one, there aren't two at all, understand this and disappear in it; when you are not, then truly He is.
" words attributed to Ali Ebn Abi Taleb "
Main Concept
For this project I am mainly using marquetry as a medium to reflect on the way one harmonious entity can be formed out of what used to be contrasting poles .. A non - dualistic approach of healing the opposites into one complete whole is my main source of inspiration . Marquetry inherent techniques involves cutting a variety of shapes out of wood veneers that are basically contrasting in color and grain direction.. Placing those shapes together like a jigsaw to create one pattern that combines and reconciles these contrasting elements reflects in my point of view same ethic . I therefore chose marquetry to design and objects.
-A door (two sided manuscript
craft the four following
:outside /inside ) and frame for a welcoming
-A Panel
-And three boxes
(created as one object )
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Color
Color revolves around the colors of light beige and dark brown . There was no need to use a wide variety of colors because I did not want myself nor the viewer to be distracted.
Veneer
palette
(1 )
(2)
(3)
(4)
(5)
)1( بوبنجاburr reddish middle toned brown stained with darker patches of same color ( used in the three boxes ) it is malleable easy to work with .. color didn't change much when nourished with linseed oil (finishing) )2( جذر جوز ترك
burr dark brown
(used in panel )
)3(ساق جوز ترك middle toned grained brown veneer ,occasionally stained with patches of lighter beige (used in door and frame ) )4( تك
a very light flat beige (used in three boxes )
)5(أرو
light grained beige (used in door ,panel and frame )
Finishing For the panel , frame and boxes I polished the surface after scraping and sanding with linseed oil (about three times each ) However for a more matt natural finishing effect I used turpentine oil followed by wax in the door .
one layer of
Panel
Work inspired by a photograph I took - while walking in the streets of Sayeda Zeinab - of a man wearing Emamah (turban) and qaft창n.. In spite of his apparent poor state he was confidently dressed like sultan from the middle ages .His fragile and translucent figure merged within its surroundings ,a withering shades of a modern city ,in a very interesting way. In spite of the contradition ,I remember a sense of harmony persisted ,obviating borders between old and new, plain and beautiful , rich and poor. When I took the photograph I was determined to frame the moment .
The main motif I am using comes from the ceiling arabesques of a 17th century mosque called El Bordeyni . It combines in one design arabesque floral pattern of Islimi (fluid and biomorphic )with geometric pattern (rigid implying order in
nature ) . These two extremes are woven .. According to Khaled Azzam in his book Arts and Crafts of Islamic Lands "this weaving effect has symbolic meaning .It touches on the personal path where an individual's 'way' meets that of another and a decision has to be made either to be ' submissive ' (go below ) or 'assertive ' (go above) , which roles alternate . " The motif is used as unit arranged around the surface of the panel to imply Tawaf (circling ). Along its revolving path an interchange between its two constituting colors is allowed . In between these patterned units solid pattern-less intervals -with yen yang discs in the middle -take over .Once the color of these intervals appears as the continuation of the adjacent unit's overlying pattern , next it shifts to be the emerging continuation of its background .
Initial planning ..
-Out of all the pieces in this project, I first started with the panel ..At the time I had no experience dealing with so many fine curves in one design ..I made the mistake of sewing too many layers piled on top of each other . The pieces were subject to great damage . I had to spend long time in restoration . I am glad I didn't give up ..I crafted my personal statement of being stubborn .
- For the veneer to be pressed with PVA on wooden board ,clamping was done overnight
-After removing the mount board and the adhering tape ,a central motif unit and discs of yin/yang were attached
At this point I was planning to print the photograph of the man on this central unit of pattern
The Yen yang Pattern on wooden disk was inspired from drawings I did after Pre-Raphaelite frames at the time I visited their exhibition .
- The piece was scraped down till all veneer pieces were same level looking like a single wooden surface ..Work was done very slowly and carefully ..The surface was slightly saturated with methylated Spirits in between 3 or 4 sessions of sanding which is normally done with paper of different coarseness, starting from sheet no.180 to 300 then 450 ..
However in my case super fine P1000 & ultra fine sandpaper were used for a smoother effect.
P1200 sheets of
-At the center of the middle patterned unit I wanted to transfer print my image of the man. I first applied gesso and then gold leaf hoping it gives a slight shimmering effect underneath.
It was my plan to put the patterned unit with center of the panel (like in the photo at the satisfied with how it looked like when it was in the middle appeared insignificant and lost hole in the middle of a huge intricate body .
the man's print at the right ) but I was not actually done . The print , almost like a black I had to rethink my
composition . I thought I could relate the man to the concept of non duality without him being trapped..
I came up with the idea that it was better to separate the patterned unit with the man's print and display it in relation to the panel . The panel is to be perceived as pure concept ( a self -contained entity ) . While the print is a moment I am meticulously framing to reflect upon my encounter with that man in relation to the concept .
That is how the work is to be presented .
Three Boxes .." a woman's secret "
Three boxes -displayed as one work – are my interpretation of Vladimir Dunjic's work. An artist who loves to paint women "veiled" .
In my boxes I take his approach a step further.. The veil is present and women's faces absent . I wanted to give space for the viewer's imagination to reflect upon what lies behind the delicate veil of his woman . An effort should be done I know. He has to open the box see what lies within .
Inside lies a shimmering butterfly A bunch of wild flowers And ..a poem
A few mistakes scraping the surface and polishing with oil .. but the overall effect was not bad .
Door
The two sides of a door was designed while having the concept of out and in, bright and dim (concerning daylight ) , being in guard and being at ease , positive and negative , old and young..all in mind . Again ..like a double edged sword or the two sides of a coin , things that can be perceived as opposites yet can actually form a whole. The main motif is based on an ink drawing from the Fatimid era ( 11th or 12th century ) ,it retains the traces of Egypt's folk art (the figure reminiscent of Abu Zaid El Helaly ) The outer side has the lighter background as it is directed towards the road where day light pervades ..The man there holds a spear , looking young and strong enough to protect his own house . The other side has the darker background as it is directed towards the inside of the house .. The man is not on guard any more . The spear in his hands disappears ..Replaced by a beautiful bird . It is clear that within this place (his home ) he can reside peacefully , grow old and wise . The upper panel of the door (both inside and outside ) has the motif of two doves facing each other . Originally an Egyptian motif from the 9th century carved on wood (now belongs to the Museum of Islamic Art in Cairo ). Veneer color : I wanted to decrease the contrast between adjoining shapes ; I chose the darker veneer with light batches in beige to merge occasionally into the Ash wood color of the complementary veneer allowing thus for softer outlines . The grain of wood veneers retains a vertical direction through out the entire surface . To make it possible for a saw with limited size to cut through the veneer creating the motif of the man ,the man's figure was divided into 7 sections . It was important to consider the places where it should be divided , make it coincide with the outline or a bold inner line in a way that it won't show when the pieces are finally assembled . This reminded me greatly of the way a fresco painter would choose to dissect his figure for giornata ("day's work"). When the spear was discarded in the inner side of the door I thought the space next to the man would be too much and affect the composition and feeling of balance so I used the natural gradation ingrained in the wood to form what seems to be the fading traces of a spear .
Finishing : For final finish I wanted to preserve the pale natural matt effect of the wood ..I already used linseed oil for the rest of the pieces .. it was acceptable in case of the boxes and the frame (well ..to a certain extent ) but I was greatly displeased with the luster and the dark contrasting tones I got when I applied oil to the panel . So I decided for the door to be careful . I made 3 samples as shown above . In the first I experimented with turpentine applied alone / and with dammar varnish , In the second sample I experimented with bee Wax first applied alone then with dammar varnish, In the third sample I first experimented with linseed oil alone then with dammar varnish . The effect I wanted was something between the first two samples (turpentine and bee wax with no dammar varnish ) .. So for the door I first applied turpentine followed by wax . The outcome was agreeable.The wood looked nourished and retained its natural look at the same time .
Frame for a welcoming manuscript.
After the door it was time to think of what a visitor might see inside the house once he/she is allowed in Coming from far away across the hardships of the road .. a welcoming manuscript would be a nice thing to look at .. A promise of the good treat and the peaceful stay he is about to experience .
For such manuscript I designed a frame in which I used our usual welcoming phrase "ahlan wa sahlan wa marhaban " exactly as it was written/stitched in khayamia style ( tent makers craft ) on an antique Egyptian tent-cloth now present in British Museum. The colors are the same used for the door .It was also the perfect combination to enhance the delicate and the elegant colors of the manuscript .
Initial design included dark border and side boards with solid color .. For softer effect I changed ; used light borders and side boards with natural light batches of color in the middle .
Project 2
Fleeting illumination Carved Stucco and stained glass Rania Fouad January - February 2013
Concept: I wanted to create something for people to contemplate on rather than to use . A simple object that helps their minds reflect on one abstract scheme . I chose a motif from Alhambra palace of Granada ( from Andalusia) . Like a fleeting reverie of the bygone age of illumination , its spinning aspect generates a feeling of transience . To emphasis this particular aspect I arranged the motifs in a spiral path , and examined its prospective animation using a praxinoscope as shown in the following video: https://www.youtube.com/watch?v=LGRN0gIQh_c I want the final object to be displayed in continuous motion , revolving around its center , sending Granada's motifs to the outer space .
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وميض عابر حفر على الجبس و زجاج ملون يسقط عليه من خياله فتتوالد، أردت ان أصنع " شيئا "يتأمله االنسان على مهل .منه المعانى و الصور المجردة على، بيداى أصنع الشئ. بذلت كل الجهد الذى يليق بمن يعمل فى مجال الحرف . من البداية و حتى النهاية،مهل فى التصميم إخترت موتيفة مأخوذة من البالطات الخزفية بقصر الحمرا فى غرناطة . أى من االندلس الذى سطع نجمعها فى عصر جاء و ولى كوميض لحظى عابر،
بأركانها الثالثة الملوية كياء معقوفة توحى الموتيفة بطاقة كامنة و قمت بتوزيعها. إستعدادها للحركة و االنطالق خارج حيزها الفعلى المحدود إختبرت إحتماالت الحركة. بأحجام تصاعدية و تبادالت لونية فى مسار حلزونى .بالبراكسينوسكوب كما هو موضع من خالل هذا الفيديو https://www.youtube.com/watch?v=LGRN0gIQh_c الهدف هو ان يتم عرض العمل فى وضع حركة مستمرة ؛ يدور حول مركزه و يبدر .األشكال) موتيفات غرناطة( فى الفضاء المحيط
Initial phase of planning : From the beginning I was determined to create an object in motion in order to express the basic state of transience. I knew I would use a praxinoscope to examine the animated surfaces . For that I designed my piece of work in the form of a disc unto which I arranged the motifs . Motifs : Started in the form of floral design but discarded for the sake of something more subjective . I preferred to use the much more simple motifs found in the construction of a tiling in Alhambra palace of Granada . In that way I reduced the image of the fleeting age of "illumination " once existed in Andalusia –by synecdoche – to fragmentary proportions . On the disc , Granada motifs were first arranged on circular path , then on spiral . I changed its scale allowing it to grow and wither along its path . ***** :الطور األولى للعمل على الفكرة رغبتى فى التعبير عن إنفالت االشكال جعلنى منذ البداية أصمم أسطحا اسطوانية أول تفكيرى فى الموتيفات كان على هيئة. بغرض تحريكها على البراكسينسكوب زخارف نباتية و لكنى إستبعدتها تماما و إستبدلتها بموتيفات من قصر الحمراء .بغرناطة لتوافق األخيرة مع الفكرة . موتيفات غرناطة بدأت كلها بنفس الحجم و قد رصصتها على مسار دائرى بسيط تطورت الفكرة بالتدريج و أخدت الموتيفات مسارا حلزونيا و تباينت أحجامها و ذلك إلثراء.. من صغير إلى كبير ثم من كبير إلى صغير فى إتجاه الخارج .طبيعة الحركة
Creating animated patterns using a praxinoscope
The construction of a tiling in the Alhambra , Granada , Spain .
http://www.catnaps.org/islamic/islamimages/alhambspin2.jpg
Alhambra motif is generated from the family of six-point geometries which is – according to Islamic geometry - the ideal representation of the six days of God’s creation of the universe. Thinking of it we can relate this image to a video being played fast-forward .. For the universe is indeed something huge . To see all its contents appearing from nowhere in 6 subsequent days and nights we feel the grid - which is the basic form of the motif - related in a certain way to the main idea of the work concerned with transience and fleeting images . ***** موتيفة غرناطة التى أستخدمها فى هذا التصميم نبعت من شبكة هندسية أساسها فى الفن اإلسالمى هذه الدوائر ترمز إلى االيام الستة التى. ستة دوائر أرى أن هذا يدعم فكرة العمل القائمة على تصوير مفهوم. خلق هللا فيها الكون فالكون كيان شاسع إذا شاهدنا كافة. الحركة و االنفالت ثم الزوال محتوياته تظهر من ال شئ في ستة أيام وليال أظن أن صورا ستترائى لنا و هى .تتالحق فى سرعة كبيره تفقد معها االشكال معالمها
Color Study
Animated colors Like in these photographs , when the disc of carved stucco rotates around its center , colors are liberated fleeting beyond its fixed limit . ***** : تحريك األلوان تتحرك، كما هو ظاهر فى هذه الصور و قتما يبدأ العمل الدوران حول مركزه .الموتيفات و تتعدى مكانها المحدود إلى فراغ محيط أكثر رحابة
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