Openings in the Sanctuary of the Face – Oriental Voices

This artwork embodies a profound visual dialogue between mass and void, between what remains visible and what hides beneath layers. At the heart of the piece appears a large, fragmented face, skillfully carved to look as if it belongs to the remnants of a forgotten civilization, etched into the wall of time. This face is not merely a physical representation of identity but a narrative of a human memory eroding under the passage of time, yet retaining its beauty and dignity.

The organic white structure piercing the face is not just an aesthetic element but a symbol of inner voices branching and intertwining, like roots digging deep into the earth in search of light. These openings bear an intentional visual resemblance to the forms of the traditional burqa or niqab, yet here they go beyond their surface meaning as a cultural expression; they transform into channels of light, breath, and revelation. They are openings of resistance and spaces for contemplation, turning the idea of the veil from a symbol of absence into a tool of expression, and from imposed isolation into a free space.

The burqa here is not merely a cover or a means of concealment as often superficially understood, but a profound symbol expressing cultural identity and social roots. It is part of a visual language that conveys belonging, traditions, and a history spanning generations. Through wearing the burqa, the individual expresses connection to their community and pride in their roots; it carries a living memory of the places and times that shaped this heritage. Therefore, the openings in the artwork transcend this superficial function to become channels transmitting intertwined voices and cultures, pulsating with life and existence, rather than mere concealment or hiding.

The use of paper pulp in constructing the organic white parts is not only a technical choice but a symbolic act. This material, born from recycling used paper, embodies the spirit of sustainability and renewal. It is a testimony to the possibility of creating beauty from the simple, the fragile, and what was once considered discarded. This invites reconsideration of the concepts of waste—in art as in life—and elevates the value of continuous transformation and regeneration.

The work also carries clear feminist dimensions. The represented face is feminine, presented not as a symbol of allure or traditional beauty but as a bearer of collective memory, a voice rooted in its land, saturated with experiences of silence and speech, absence and presence. Through this representation, the feminine face is reclaimed as a place of sanctity where the private and public, the individual and collective, the physical and spiritual meet.

The small ceramic piece placed on the ground beside the main composition resembles a key or an ancient musical instrument. It can be read as a symbolic tool completing the visual narrative: a key that opens the doors of memory, or a flute that chants forgotten hymns, adding an auditory and interactive dimension to the viewing experience.

In its entirety, the work forms a visual and auditory sanctuary, an invitation to dive into the depths of Eastern memory and to reconsider concepts of identity, body, womanhood, and renewal. It stands on the edge of what we know and what we conceal, what we lose and what we recreate.