Step into the imaginative realm of Maitha Abdalla, where folklore, mythology, and gender intertwine with a diverse array of artistic mediums. From film and photography to sculpture and performance, Abdalla’s work transcends conventional boundaries, inviting viewers on a journey through the complexities of the human psyche. In this exclusive interview, we delve into Abdalla’s creative process, exploring how her dynamic interplay of abstraction and representation illuminates themes of vulnerability, transformation, and self-discovery. Join us as we uncover the enigmatic world of one of contemporary art’s most intriguing voices.
Your practice spans various mediums, from film and photography to sculpture and performance. How do these diverse artistic expressions contribute to your exploration of themes like folklore, mythology, and gender in your work?
In my practice, the theme serves as the starting point that guides the choice of medium. I approach my art through the lens of theatre and the constructed stage, where elements established using various media interact and complement each other rather than existing in isolation. For instance, my work in the Sharjah Biennial Will the Gods Belong? (2023), a site-specific multidisciplinary installation, that encompassed film, installation, works on canvas, and sculpture. These diverse expressions converged to form a habitat that embodies regional folklore and addresses recurring themes in my art, such as questions of sin and purity, good and bad.
The theatre’s influence on your art is evident, as your scenes seamlessly blend abstraction and representation, charged with both drama and melancholy. Can you share a specific instance where this dynamic interplay has allowed you to convey a compelling message or emotion in your artwork?
Abstraction and the utilisation of the theatrical stage distance my practice from realistic representation, enabling us to immerse ourselves in a realm where alternative and imagined realities can be freely explored. In this manner, my work transcends depiction and strives to delve into the exploration of intangible concepts that can be raised through the performative character of theatre or the freedom of abstraction. In the body of work I produced during my residency at the Cité Internationale des Arts in Paris for example, the icon of the dark forest was a recurring image in my mind’s eye. This wasn’t a real forest but rather an imagined space inhabited by conflicted beings, an expression of isolation and ecstasy, life journeys and childhood fables.
Your art is described as an ongoing investigation into the self. Could you elaborate on how you use characters and tight domestic spaces to expose vulnerability, and what insights into your persona these constructions offer?
The bedroom, the corner of a room, and the bathroom serve as metaphors that I utilise to evoke a range of emotional states, from the dream-like to the claustrophobic and the isolated. Spaces like the bathroom suggest notions of liminality, transition, and transformation, while the corner of a room serves as a reminder of punishment, childhood, and vulnerability. I intertwine these symbolic representations in my art, incorporating hybrid and anamorphic creatures to delve into thematic concerns such as inner conflicts and fragmentation.
