Personal Info
- Country of residence: Palestine
Information
The Palestinian visual artist, Tahani Abd Al-Karem Sakik, is one of the prominent artistic names in the field of fine artistic expression related to the lights of the homeland and struggling Palestinian women, and one of those who put in her drawings and pictorial works a primal, visual flavor full of the vitality of the “female” and highlighting her pioneering role in fighting the battle of existence. And the cycle of life, through the oases of fine art and its fields open to work, resistance, and the combinations of civilization with multiple virtues and trends.
She was born in the city of Gaza and holds a diploma in plastic arts. She lived in the State of Kuwait for a long period of time and had the honor of membership in the Union of Palestinian Plastic Artists, Kuwait Branch, and participating in all performances related to the Palestinian issue. The paths of return to the homeland enabled her to reside in the Gaza Strip and continue to contribute to many exhibitions bearing diaries of steadfastness and resistance.
Her paintings are inhabited by social worlds linked to the daily lives of the Palestinian family, and family divisions that are open to the orbits of symbolism, puns, and visual inspiration that stand behind the characters and colors of her paintings, which are full of the blue of the Palestinian homeland and its bounties, and loaded with the popular connotations that inhabit every house of embroideries and successive geometric decorations. She dances to the rhythms of stone throwers and horses, i.e. the effects of (revolution) and the flocks of white pigeons cloaked in the bars of Zionist cells.
Her paintings are a new kind of resistance, using historical roots and origins from the life, heritage and stories of the Palestinian Arab people, and crafts dipped in the colors of the Palestinian flag. Her vocabulary and diagnostic elements take from the female an essential plastic vocabulary in all of her paintings, and include it in the body of her paintings as texts packed with symbolic references, open to balanced composition between elements and colours, and names with diverse characteristics reproduced from the lived Palestinian reality. As a (mother, daughter, sister, wife) educator and custodian of martyrdom and martyrs.
It is present in all its visual components and occupies the vital visual space in the dimensions of the painted painting. It takes its natural place in the foreground of the painting, and defines the visible foci for the rest of the surrounding and complementary elements. In her technical work, she is based on the rhythms of color harmony, sharpness and harmony between a group of derived and basic color gradations, creating the vital field for composing narrative visions of the effects of the visual text. Sometimes they carry the flags of the homeland, and at other times they carry the stones of anger, and in all cases they become a lifter, an instigator, and a fighter.
The primary colors are the oasis of her color work. She finds a special pleasure in blue, which constitutes the color distinction and common denominator between all her paintings. In doing so, it is as if she is suggesting and conveying the connotations and expressive meanings that stir up the soul, touching the inner sensitivity in her perceived emotion above the sublimity of the material, and revealing the artist’s longing and constant tendency to search for a foothold for freedom in a Palestinian homeland burdened with aggression, killing, and dispossession.
Blue gives her visual comfort to sublimate the description of the joints of visions and things. Her paintings are not devoid of geometric formal divisions, in which they touch the worlds of advertising posters in a remarkable expressive manner. It contains successive combinations of the shapes of the square, circle, and pieces, whether in an array of characters, places, or living creatures. Based on the simplification of space, the flexibility of description and modification, the transparency of textures, and the lack of exaggeration in detail of the components of characters, vocabulary, and symbols, it makes her paintings a unique case that expresses a remarkable privacy among Palestinian visual artists, and highlights the state of integration with the Palestinian event and the daily experience of the paths of Palestinian resistance in its many forms of struggle.
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