Ceramics as vessels of memory, resistance, and continuity.
During my forty five years in Nazareth (Occupied Palestine), I lived in a constant state of exile within my own country. I grew up without a sense of belonging, treated as a stranger in my homeland. Fear was always present: fear of the next incident, the next act of violence. Speech was censored, resistance was prohibited, and pride in being Palestinian was not permitted.
After moving to my new exile, Amsterdam, in 2016, it became urgently necessary to preserve memory against enforced forgetfulness. Through ceramics and design, I speak our narratives -especially now-, as my people in our ancestral land are subjected to mass ethnic cleansing that seeks to erase heritage, stories, families, and generations of memory.
The jars are formed using an ancient coiling method practiced in prehistoric ceramics in Palestine. The memory charms are made of white porcelain and finished with gold luster, a technique first developed in the 9th century in the region of present-day Iraq for royal courts, later spreading throughout the Islamic world and into Europe. These materials and processes serve as vessels of remembrance, asserting continuity in the face of erasure.
Ceramics as vessels of memory, resistance, and continuity.
During my forty five years in Nazareth (Occupied Palestine), I lived in a constant state of exile within my own country. I grew up without a sense of belonging, treated as a stranger in my homeland. Fear was always present: fear of the next incident, the next act of violence. Speech was censored, resistance was prohibited, and pride in being Palestinian was not permitted.
After moving to my new exile, Amsterdam, in 2016, it became urgently necessary to preserve memory against enforced forgetfulness. Through ceramics and design, I speak our narratives -especially now-, as my people in our ancestral land are subjected to mass ethnic cleansing that seeks to erase heritage, stories, families, and generations of memory.
The jars are formed using an ancient coiling method practiced in prehistoric ceramics in Palestine. The memory charms are made of white porcelain and finished with gold luster, a technique first developed in the 9th century in the region of present-day Iraq for royal courts, later spreading throughout the Islamic world and into Europe. These materials and processes serve as vessels of remembrance, asserting continuity in the face of erasure.
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