GOD’S EYE SEES ALL
God’s Eye Sees All
Liquid emulsion on stone, acrylic, steel, ceramic
160x120 cm
2024
Liquid emulsion on stone, acrylic, steel, ceramic
160x120 cm
2024
God’s Eye Sees All
Material Catalogue
Material Catalogue
God’s Eye Sees All
Publication
God’s Eye Sees All explores the subversion of public and private realms through the introduction of aerial imaging technologies during the first Gulf War.
The project returns to the desert lands of the Kuwait-Iraq border, rearranging found stones, corrugated metal, discarded door frames and other loose materials
into a carpet- the focal point of Arab domestic life. The composition of the carpet explores the symbiotic relationship between these contested landscapes
and the homes that carry their stories.
The second stage of this project, the publication, centres the Al-Qurain Martyrs Museum, formerly a family home that now stands as a memorial ground for
martyrs of the first Gulf War. The home bears the scars of the battle that took place inside, on February 24th, 1991, and has been left untouched since then.
Within the publication, parallels are drawn between the visual and material identites of the natural and built environment; between landscapes, maps,
homes, decay, and re-birth.
Materials within the composition are photochemically hand-printed in collaboration with Kuwait City-based darkroom Studio Khemia’e.
Publication
God’s Eye Sees All explores the subversion of public and private realms through the introduction of aerial imaging technologies during the first Gulf War.
The project returns to the desert lands of the Kuwait-Iraq border, rearranging found stones, corrugated metal, discarded door frames and other loose materials
into a carpet- the focal point of Arab domestic life. The composition of the carpet explores the symbiotic relationship between these contested landscapes
and the homes that carry their stories.
The second stage of this project, the publication, centres the Al-Qurain Martyrs Museum, formerly a family home that now stands as a memorial ground for
martyrs of the first Gulf War. The home bears the scars of the battle that took place inside, on February 24th, 1991, and has been left untouched since then.
Within the publication, parallels are drawn between the visual and material identites of the natural and built environment; between landscapes, maps,
homes, decay, and re-birth.
Materials within the composition are photochemically hand-printed in collaboration with Kuwait City-based darkroom Studio Khemia’e.
EDGWARE ROAD IN
LUMEN PRINT
Metamorphoscapes
Lumen Print
Variable Dimensions
2024
Using the lumen method of printing through sun exposure on silver gelatin photographic paper, the material compositions
depicted draw from visual notes taken along Edgeware Road, a site of significance in my transition from life in Kuwait to London.
The road exists as an in-between realm for London’s Middle Eastern and North African communities, lined with countless shops, market stalls, restaurants,
and community centres that offer the sensations of a past home in the presence of a new one. As a resident of Edgeware Road for my first three years in the U.K,
the road has served me as a space of reconciliation with complex feelings of identity, departure, and transition.
FOR SONDUKE MAGAZINE
ISSUE 1
Art direction, styling for Sonduke Magazine Issue 1, 2024.
Manuka Honey wears Therese Raffoul for feature interview.
Photography: Munirah Al Mehri
Art Direction & Styling: Taiba Al Nassar
Photography Assistant: Amal Ghamlooch
GQ MIDDLE EAST:
SOUNDS OF KUWAIT
Photography, Art Direction
2023
Commissioned by GQ Middle East to tell the stories of Kuwait-cultivated artists,
centering their sounds within the lanscapes that shaped them.
2023
Commissioned by GQ Middle East to tell the stories of Kuwait-cultivated artists,
centering their sounds within the lanscapes that shaped them.
Taiba Al Nassar is a Kuwaiti visual artist and researcher based between London and Kuwait. Taiba’s interdisciplinary practice engages material research, alternative photographic processes, and other artistic methods to explore the relationship between contested landscapes and their situated stories. Navigating multiple geographies, Taiba’s practice draws from localized knowledge systems and counter-hegemonic archives to address environments altered by coloniality, and the peoples and processes positioned within them.