Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani
Research Presentation
 

Loose Leaves offers a foray into hand-embroidered silk panels and recordings of Arabic poems recited by modern-day Saudi women to confront issues of silencing, and gendered divisions of space in the cultural fabric of the Middle East.

Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani

1 November 2020 - 3 January 2021

By disclosing rarely-seen preparatory drawings, sketches, and embroidery tests from the artist’s archive, Loose Leaves offers an intimate foray into the process of making Listen to my words (2018). An immersive installation by Dana Awartani, Listen to my words combines hand-embroidered silk panels and recordings of Arabic poems recited by modern-day Saudi women to confront issues of silencing, invisibility, and gendered divisions of space deeply entrenched in the cultural fabric of the Middle East.

Drawn from the significant but scarcely documented tradition of female poets in the Arab world from the pre-Islamic era to the 12th century, the poems selected by the artist express feelings of love, yearning, and pride. They relay modes of awareness, stances of resistance, and acts of empowerment often centred on the female body.
The distinct visual language articulated by the geometric patterns—bearers of sacred values in Islamic culture—references the ornamental motifs found on jali (or mashrabiya), lattice screens used in traditional Islamic architecture to control the circulation of air and light as well as to shield women from the male gaze.

Presented alongside the original audio recording, Loose Leaves layers a selection of preparatory studies in the enclosed space of The Vitrine to provide a glimpse of the subtle negotiations that inform Awartani’s creative journey across different techniques and materials.


Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore
Loose Leaves. Process, materials, sounds from Listen to my words by Dana Awartani, November 1, 2020 — January 3, 2021, Courtesy NTU CCA Singapore

Contributors
Dana Awartani
Dana Awartani
Artist-in-Residence
Saudi Arabia

The rich visual language of Dana Awartani’s (b. 1987, Saudi Arabia) paintings, sculptures, and textile installations incorporate traditional Islamic art forms into contemporary aesthetics. Engaging with the relationship between geometry and nature, she harnesses the timeless and enduring relevance of forms in order to deconstruct contemporary issues such as gender, faith, loss, and cultural destruction. Past solo exhibitions include The Silence Between Us, Maraya Art Centre, Sharjah, United Arab Emirates (2018) and Detroit Affinities: Dana Awartani, Museum of Contemporary Art Detroit, United States (2017). She has participated in numerous group shows and biennales such as Kochi-Muziris Biennale 2016, Kochi, India and the 1st Yinchuan Biennale, Museum of Contemporary Art, Yinchuan, China (both 2016), among others.

The artist was scheduled to be in-residence from July – Sept 2020. Due to the COVID-19 virus outbreak and international travel restrictions, the artist was unable to participate in the residency programme physically.