Thursday, 09 October 2008
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Review: Crooked Rib: Mixed Media exhibition, October 2008
Visual arts review: 2008 Melbourne International Arts Festival
Crooked Rib: Mixed Media exhibition, October 2008
Gallery 15, 15 William Street, Melbourne
“A playful, vibrant and confronting display of young Muslim women in contemporary Melbourne”
The Crooked Rib exhibition is a new collaborative endeavor by all female artists and presents a playful, vibrant and confronting display of young Muslim women in contemporary Melbourne. The varied pieces cover many mediums from traditional canvass painting, photography, stenciling, multi-media and even a short film. They exude a youthful openness and need for self expression, in a climate that often times dictates the terms of reference and the forms this expression takes. The works certainly reflect a strong individuality and sense of personal empowerment, yet retains a sensibility firmly placed in community, friendship and family.
On a cursory viewing the works may seem, folksy or even self consciously ‘urban funky’, but this would dismiss what I feel is the most striking thematic element of the whole exhibition; a sense of real tension, it’s as if each piece; with its vibrant use of colour and deceptive playfulness, also reveals a serious question of identity and a sense of place. Lamees Hajhussein’s multimedia piece “The wall within”, displays this tension of multiple identities in a very visceral and concrete way. The ‘Walls’ can be construed as both interpersonal and transpersonal barriers, or in a larger context, the tensions between ‘Traditional orthodoxy’ and modern secular identities.
Yet these tensions seem to find their own resolve, as each artist finds ways to express the multiplicity of identities and appropriates them in their own way. On a display wall of large photographic portraits featuring most of the artists, the viewer is confronted by seemingly casual, playful and surprisingly contrary (to the mainstream media perhaps) depictions of Muslim feminine; laughing, guitar strumming, cheeky slogans, some with headscarf some without, a multiplicity of Muslim female ‘types’. The most striking of these photo portraits is of one of the artists, wearing the headscarf but her lower face obscured by a large sticker that reads, “Feminist”. Another portrait has the word ‘Occupied’ stuck to her body. Again the tension is disarmed by a sly sense of humour and an ironic subversion of liberal and feminist sentiments regarding the so called, “oppressed, subjugated Muslim women, in need of rescuing and liberation”. Yet these bright, sassy, intelligent artists have transcended these sentiments and broken the mental and physical ‘shackles’ imposed by such labels- Grrrl power looks thoroughly tepid in comparison.
Some other standout pieces are: ‘Street Science’ by Faza Fauzi, an immediately modern piece taking as its canvass three wall mounted skateboards. Symbols of modern, youthful mobile rebellion, yet inverted to reveal their underbelly, they are ‘defined’ by stenciled traditional Islamic geometric designs.
Hosna Saleem’s “Self Portrait” – acrylic on canvass. Is a triptych of bold, swirling reds and gold chaotic colour, coalescing into a central female figure, veiled yet her face is missing or exposed and vulnerable. It’s a very exciting and emotive work.
Lauren Thomas: “Not your exotic” – Stencil on 4 canvass panels. This is a very personal rumination about ownership of identity and a seemingly simple piece that belies a provocative stance. Four bright orange panels with a large stencil silhouette of a rather serene, svelte, hijab wearing figure, she is side on and facing away from the viewer. The effect of the stencil’s position on the orange background, is striking and has a three dimensional aspect. The figure is casually holding up a spray can of paint, inviting the question, “Art or vandalism?” the figures casual stance suggests that your opinion doesn’t matter here.
As counter-balance to the more exuberant and extroverted works outlined above, there were many works that express deeply grounded, reflective and spiritual sensibilities. Themes of personal faith and human relations both familial and community were another dynamic in this exploration of identity. From Humeyra Ozgok’s intimate and affectionate photographs of family members, to various works inspired by verses in the Holy Quran, Islamic architecture, prayer and other rituals- the artists have not shied away from expressing how faith plays a central role to both life and art; informing and forming their multifarious, yet harmonious identities in a personal and wider social context.
Crooked Rib have made a memorable debut into the Melbourne art scene, their self assured, sensitive and intelligent approach to their work bodes well for any future projects both individually and as a group. I for one look forward to seeing how they progress in the coming years and what impact they will have on all communities – both Muslim and non-Muslim. A highly recommended must see!
©Nazid Kimmie 2008
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