Art As Resistance

 
gaza-1500.png
 

My sketches have a narrative feature that connects the personal with the political: the retelling of having witnessed and experienced these events. The empty backgrounds direct the viewers’ attention to the figures that are constrained within a military occupied space. The barbed wire, the tanks, and the smoke reflect the daily reality of war. The viewer must study the body language and facial expressions in order to gain insight into the bodies’ subjectivity. The viewers gain an idea of what it means to live in a militarized zone, the resistance within bodies, and how these meanings can be applied to other militarized zones such as Iraq, Kashmir, Yemen, and Syria. In addition, I have art pieces that explore the systematic gendered violence imposed by familial, cultural, and religious institutions. So, in many ways, the viewers who see my art can relate and connect to these images depending on their location, both their personal and collective histories.

In my work, I aim to make the trauma/s visible. The cramped postures are due to physical, mental, and emotional restraints, in which some of these bodies appear deformed, paralyzed and frozen in time. The bodies are drawn in a black marker, and I intentionally do not add color because black sets a particular mood of subtle mourning and the endurance of these bodies, how they take up occupied space, and how they experience their lives. My artwork conveys aspects of the systematic nature of oppression and how it is molded to be invisible.  This occurs when bodies are situated in spaces caught between multiple forces that collectively restrain and reduce them, where their motion and mobility are restricted, and where life is reduced due to living in a militarized zone, a patriarchal society, or forced to migrate.

Why Weeping

 
why-weeping.jpg
 

I do not recall when I started keeping a daily journal. My memory does not serve me as much as I'd like it to. I know it was shortly after I read “The Artist’s Way” and decided to implement the author’s advice to write three pages every morning of every day. This type of journaling goes beyond recording daily events; it is an emotional “check-in” which aims to help me feel present and centered in my body. This practice is crucial for someone like me who had spent most of her life feeling disconnected and/or numb as ways to go through life.

I would say it has been five years since I picked up this practice. I also followed the author’s instructions to not go back and read the journal entries, or at least not yet. I have a box full of these notebooks in the basement, and every time I complete one, I put it away in this box. Sometimes, I fear a sudden death and leaving this box behind for my family to read. The best option would be to give them to my English professor who writes memoirs. Maybe she can turn my stories into a piece of literature.

Here is a quote I find myself writing over and over again: “I have been postponing a long session of weeping. I fear that if I weep, the whole world will drown in my sorrow.”

Choosing the title for my art collection came long before I realized how much it resonates with my drawing practice and to my own inability to process my emotions. Drawing has been my way to cope because I am unable to use language to tell my stories. When I began drawing, it was my body’s way of creating a space to grieve. It was my way of weeping internally. Since I was forced to leave my home back in 2004, it felt like I have gone through sudden death. Everything I knew of home came to an end: My house, my friends, my cousins, my grandparents, the streets of Bethlehem, the Nativity church, my school, my dad’s grocery store, my grandma’s afternoon coffee…

As if I died and came back to life but into a foreign place, a different time zone, and a full load of traumatic and joyful memories.

During the first thirteen years of living in Chicago, I kept hearing phrases like: “ Move on,” “ Let it go,” “Do not think about it,” “ it will get easier with time,” “ It is your fault,” “ Why are you stuck in the past.” I have heard enough of that to master the practice of numbing my emotions through staying distracted by work, school, and everything else but my own wounded self. Later I realized that whoever had said that to me, they themselves are repressing their own grief and therefore, cannot acknowledge mine. If they do, they would have to face their own.

Like many people, I lived in a household where painful emotions were not okay to discuss, process, or reflect on. It was not normal to do any of that. When I was a child, I used to see my mother sob often as she prayed the rosary. I was always the one who tried to comfort her, but my attempts would always fail. I often blamed myself for her pain as any child in my place would do. With time, I learnt that if I cry, I am being needy, annoying, or dramatic. So, internalizing my pain and withdrawing from my parents and later myself seemed like the right thing to do.

Grief is a natural process to any traumatic and/or painful experience/s we, as humans, ought to fully experience in order to get past that experience/s and heal. The word trauma comes from the Greek language which translates to “wound”. Contrary to common belief, time does not heal wounds that are unprocessed, denied, neglected, and suppressed. We carry them upon our shoulders until one day, the body responds by a variety of chronic illnesses.

Imagine living all your life postponing grief. Most of us do that because we were socialized to fear “painful” emotions, and therefore label them “bad” or “negative” and therefore, push them away. No one taught us that our emotions are our ultimate guide to pay attention to the parts of ourselves that need the most attention and care. This is a byproduct of living in a capitalist/consumerist society where “The pursuit of happiness” is the ideology that runs the show. Therefore, it is an act of bravery to be vulnerable and learn to befriend our emotions in a world that teaches us the opposite.

Saying no to grief means remaining stuck in pain. The resistance to pain creates more of it. Saying yes to grief means that we are in motion, we are holding ourselves with tenderness and moving to the other side of whatever experience we are dealing with.

What my art has the ability to do is invite the viewer to look inward and connect with how they feel. The messages I get from people who have purchased my art are what keeps me going despite all the mental health challenges I live with. I remember one time after I finished giving a talk about my art at a conference in LA, a young woman walked up to me and asked if she could give me a hug. I said yes, and as we hugged, I realized that she started sobbing and said: “Thank you. No one has ever told me that it is okay to feel broken. I am tired….” At that moment, I held her pain and she held mine, and as simple as this sounds, it was a crucial moment that created a shift in her consciousness since she felt that her pain was validated.





Art As Healing

 
childhood-1500.png
 

Throughout my life, my experiences were always denied, distorted, and repressed not just due to being Palestinian, but also due to being a woman, a half Catholic half Eastern Orthodox Arab, and when I came to the U.S, I became a racialized other. 

As a child, silencing was imposed upon me, and therefore as an adult, I internalized it and silencing became a self-imposed practice; I am a product of cultural and religious institutions that actively dismiss and silence women’s voices and force them to conform. 

Remaining in denial was the only self-care tactic I knew since I lacked the resources and the language necessary to find home within my body. In my practice of drawing, I create a space for me to undo the silence, sit with all the shame and guilt, redefine my reality and name my oppressions in the hope of healing. 

Through my art, I convey what it means to live with complex PTSD. Drawing has been the only way for me to make sense of what my body goes through on a daily basis. Many stigmas exist in regards to mental illness, and my goal has been to challenge that and connect with people who share similar struggles. 

In my practice of drawing, I am learning that home starts here in my body, in all that lies embedded beneath my skin. Claiming my body as the center, I map the nature of my conflicts, and I bear witness to what my body remembers through images. The journey inward to find home is what this project has been about. It is important to note that my body does not exist in a vacuum, rather it exists in relation to other bodies; my ancestor’s bodies, in the diasporic bodies, and in the bodies of Palestinians who continue to live under military occupation. So my definition of home lies in the interconnectivity and intersection of these bodies in resistance, a collective resistance that links here and there in a continuum.