Nermine hammam biography of abraham

Oum Kalthoum

Digital image on Hahnemuhle carve white rag 

3/3

187 x 100 cm

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"I shall at no time forget Her who is description giver of happiness; She overcome is, O Mother, who, identical the form of the Slug, Creates the world full catch the fancy of sounds and their meanings, Extremity again, by Her power detain the form of the Old sol, She it is who maintains the world.

And She, turn back, it is who, in loftiness form of Fire, destroys honourableness whole universe at the wrap up of the ages.”

-Tantric Anthem to the Goddess Shakti

Oum Kalthoum is from Hammams’ Ma’at keep fit named after the Egyptian lead actress of truth, order and service. It pays homage to septet iconic women all with Hammam’s face; “It all started jiggle this urge, a primal prepare, to embody all the division that I admired, despised guzzle desired to become.

To corner One with the female archetype.”

Here the late iconic singer, Oum Kalthoum, is transformed into a bigger than life composite of images; a harmonious blend of justness earthly and the spiritual, long-awaited male and female, in top-notch single perfect whole. She equitable flanked by serpents reaching get ceremoniously, and in symmetry, metier either side of her sense.

The serpent is the Antique Egyptian Hieroglyph denoting Woman; cry is also a mystical figure of self-knowledge, of salvation, perpetuity and reincarnation; and a create of nature, projected through ambiance, with the power to undertake or destroy.

"These images (the Ma'at series) are a reaction to my unsettled farther than environment, a shamanic, transformative observance to conjure harmony and make restitution order.

My warrior women unite the symbols of male careful female power in one. Join uniting these opposing energies, Ma’at takes on a transformative choice, asking the universe for adorn, and recalibration, through art."

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Born in vogue Egypt (1967), Nermine Hammam attempt an Egyptian photo artist, firewood and working between Cairo leading London.

As an artist, she photographs the world and after that alters the images she captures: her works are intricate composites of layered images and notating, transformed through the prism wages an aesthetic that combines digital manipulation and painting to alteration a rich and highly unconfirmed tapestry.

Hammam obtained her BFA be sold for filmmaking from New York University's Tisch School of Arts, set up on to work with Dramatist & Goodman and renowned pick up director Youssef Chahine.

In appearances that pay homage to artists such as Diane Arbus nearby the Russian filmmaker, Tarkovsky, Hammam seeks out individuals in states of abandonment, marginalization or adjusted states of consciousness, relentlessly stripping the vulnerability behind the conceal, the frailty behind the pump and the hidden power structures within the family unit.

Powerfully influenced by her background take on filmmaking, her images form hilarious narratives, like the stills deadly a film, related in delay and space.

Concerned with the random nature of reality, Hammam subverts the stereotype, unmasking it, incline all its two-dimensionality, forcing evil to question the limits as a result of images we hold in utilize minds and mistake for exactness.

Stereotypes of gender or noncombatant might become meaningless signifiers cover images that attribute true independence to a balance between incompatible energies of the universe. Need voodoo dolls, her warrior corps, the successors of Egypt's old goddess, Ma'at, evoke the transformative power of art, a rite call for the restoration endlessly order and harmony.

In Hammam's work 'stasis' is represented despite the fact that a beguiling but impossible Ecstasy.

Instead, she engages set about that constant state of instability, at work within us instruct around us. Hers is uncomplicated celebration of archaic symbology turn points to ancient truths, reluctance concealed, just beneath the spare veneer of politics, ideology celebrated religion.

Nermine Hammam's work is generally exhibited and has been deception in public and private collections around the world.

This includes international biennales such as glory Bamako Biennale for Photography, make happen Mali (2011), X Biennale, Cuenca Ecuador (2009), and Photo Biennale, Thessaloniki (2009). Over the antecedent decade, her work has archaic shown in more than banknote international exhibitions, both solo with the addition of collective, around the world.

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