The Third Line, the Dubai-based gallery known for representing contemporary Middle Eastern artists locally, regionally, and internationally, recently hosted three solo exhibitions including one by Lamya Gargash.
Curated by Sophie Mayuko Arni, “Isthmus” has is an art show by Lamya Gargash that recently showcased at The Third Line gallery. It’s explores how space is shown in the artist’s work and how different places and human experiences are depicted without showing actual people. Instead of people, the artist takes photos of objects, furniture, windows, and decorations in rooms. These things tell stories about people even though they’re not there. Each thing in the rooms shows a bit of human character and what people from different times and places like.
In this show, there are new artworks that Gargash made after going from Dubai, UAE to Atami, Japan. She took pictures of Hotel Acao Annex. These new works are connected to her older artworks, like the ones of the Queen Elizabeth II (QE2) cruise ship. This ship used to sail but now it’s a hotel that stays in Dubai.
Her work is part of the permanent collection of the Barjeel Art Foundation, Sharjah, UAE and Sharjah Art Foundation, Sharjah, UAE.
Below, we speak exclusively to Gargash about her latest exhibit…
Can you tell us about your ISTHMUS show at the Third Line?
ISTHMUS is a narrow strip of land that connects two bodies of land. The title worked exceptionally with my work and photographic journey. Despite the difference in a visual context, my photographic studies have all come down to one main chore idea: celebrating the human narrative in space.
The work encompasses various studies I have done over the last few years, from documenting Abu Dhabi Clubs to the Queen Elizabeth 2, a family still life portrait, and photographing my ancestral home. The spaces are void of humans, yet they still evoke so much humanness.
There is much beauty in what is now considered banal. The unseen, the overlooked. I like to provide insight into more intimate spaces opposing the globalized commercial image that the media seeks to present of my home.
So, it sheds light on the banal and everyday visual acquaintances that play a massive role in our evolution, for they garner and collect our experiences, memories, and emotions.
What is the main message you want to portray through your show?
I am an observer. I live my life through visuals. Stories form in my mind as a series of images rather than text, and my work directly opposes our fast-paced society. Using analog photography reflects this opposition.
The culture of humans in space and how that shaped our experiences, celebrating them and providing a perspective on my personal experiences and finding intense beauty in what many consider boring and mundane.
Also, I am a traditional photographer, so I still use film. I like to challenge myself and am constantly going against the tide, which can be exhausting. The world is making this considerable shift towards a more digital realm. In contrast, I find comfort in working with the traditions of the past. It is something about the anticipation of the work to unravel what excites me.
The film’s dying medium concept complements the themes I undertake. Not to mention the aesthetics of film is magical. The anticipation of seeing my images is exhilarating. It is not instant; one needs to be patient, and this, to me, is exciting and beautiful at the same time. I was waiting for something to unravel and unfold.
In what ways does heritage influence your art?
It all started with my thesis study, “Presence,” which was about documenting Emirati family homes, specifically in Dubai, Sharjah, and Ajman, through different stages of abandonment. Its initial stages are the process of moving and then complete abandonment.
Extinction is inevitable, and a new identity is forming. With it, a cultural change.
Modernization has transformed the old and cultural infrastructure into beach resorts, rental compounds, and even shopping malls.
My family home was part of a small compound of villas. It was my muse, and I kept back to visit and photograph until a day before they tore it down. The recession hit in 2007, which meant my family home remained in limbo for many years, slowly deteriorating until it no longer resembled the home I once had.
Photographing my family home was a pivotal moment for me. It was a force that inspired me to pursue this further.
I have been on this mission to preserve and celebrate the human narrative for almost two decades. Now it has exceeded the limits of my house, my city and home. I have been able to take my documentation to various cities such as Beirut and Tokyo.
Can you tell us about the role art plays in the Middle East?
The Middle East has always been rich in culture, arts, music, and stories. Thousands of years of accumulated history, politics, and music unite, creating the current artistic landscape. Art should come from a place of authenticity and personal experiences. The work must inspire and arouses interest, not just aspire to look pretty on a wall. That is why an artist’s journey and commitment are of utmost importance.
Our evolution is a result of our history and past. Whether we like it or not, our human history influences our creative messages and outlook. No two people’s stories can ever be the same.
From GQ Middle East website
