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.
