A.Z, 2024, BDE #1, 48" x 60", oil and soil on canvas,
Balagan #1 (Balagan series), 7' x 3', watercolor, pencil, pastel on paper.
Balagan is a Yiddish word with its roots in the Persian language; it is now used by both Arabic and Hebrew speakers. It means chaos, mess, disorder.
The series was conceived of as a forest: a landscape made of female bodies that ambiguously hover between states of disappearance and appearance. In so many children’s fairytales the forest is used as a symbol of the other-than-human world. A place filled with magical creatures, or where dark and wild forces are at play. An uncanny place of both vulnerability and transformation. This series is structured by the number seven: seven panels each seven feet tall suspended from the ceiling, floating a few inches from the ground. In the Torah the number seven holds special significance; it is a sacred space and time when the world becomes whole. The world is described as created in seven days. There are seven names for heaven and the earth. Seven days of the week; the seventh day being a day of rest (shabbat). And the seventh year, the shmita year, is when the land is returned to a commons and rests; marking a time when debts are forgiven.
Sexual violence is used as a tactic of war and terror because it is one of the world’s most effective weapons: it can destroy lives, terrorize communities, and change the very demographics of the community it impacts.
- "Team of Experts: Rule of Law/Sexual Violence in Conflict"
A.Z., 2023, Ursus maritimus ("Endangered" series), 48" x 60", oil on canvas.
A.Z., 2023, Batsheva ("Stop Right There" series), 48" x 60", oil on canvas.
The Stop Right There series uses the language of portraiture to create a double moment of ethical subjectivity. In effect, the face of the Other is used as mediation device, one that negotiates the encounter between a painted and a viewing subject. This double moment of subjectivity prompts the question of whether it is the gaze of the painted subject who suspends the viewer in time, or whether it is the viewer’s look that momentarily captures the gaze of the painted subject? The portraits are not general or arbitrary figures, they are gender-specific, who despite their individual situation of despair, panic, or worry, gain a sense of collective strength as they stand in solidarity with each other. Employing the structure of an ethical moment of the face-to-face, as philosopher Emmanuel Levinas articulated it, A.Z captures the challenge gender-based violence presents humanity.
Globally, an estimated 736 million women—almost one in three—have been subjected to physical and/or sexual intimate partner violence, non-partner sexual violence, or both at least once in their life (30 percent of women aged 15 and older). This figure does not include sexual harassment.
A.Z., 2022, Hannah ("Femme Animalia" series), 48" x 60", oil on canvas.
Human Animal Bond Research Institute, 2024
Drawing on the history of sketching as a deeply personal medium and one that often functions as a reference point for painting, the portraits that make up Femme-Animalia collectively read as an illustrated diary. Each image pairs a female with her other-than-human companion, configuring subjectivity as a queer relation that slips and slides amidst the artificial human-animal divide. Depicting a multifaceted series of intimate female and other-than-human animal attachments, each portrait illuminates a unique transpecies bond of care, empathy, companionship, reciprocity, and affection. These inherently collective subjects problematize ideas of human individualism and exceptionalism.
Globally, at least one animal is abused every 60 seconds. Close to 10 million animals die from abuse or cruelty annually in the United States.
A.Z, 2021, Fault-Lines I ("Fault-Lines"), 36"x48", oil on canvas.
A.Z, 2021, The Dream I ("The Dream"), 36"x48", oil on canvas.
A.Z, 2023, Ruth, 48"x60", oil on canvas.
A.Z is a painter, filmmaker, creative writer, and philosopher. Her artistic practice deploys the artist-painted subject-spectator structure as both a creative and mediation device, instituting a specific reality and prompting an ethical encounter of bearing witness. She brings the affective power of physical and psychological sensation into relation with the vast library of imagery popular culture and social media incessantly produce to render fascination, compassion, devotion, curiosity, fury, and horror palpable. Excavating the detritus of humanity and its translation into the abstract world of data and statistics, A.Z is interested in the question of how to humanize the objectification that such acts of translation and re-representation can generate. Mindful of the ethical tension of painting a subject and the intrinsic power dynamic this instates, A.Z chooses to use an admixture of personal memories and images taken from the media to create hybrid portraits that reference actuality as much as they do imaginary worlds and times.
A selection of six works from the Stop Right There Series is included in the European Cultural Center’s 2024 Venice Art Biennale exhibition at Palazzo Mora. Her video works have received numerous awards at international art and documentary film festivals and have been screened at Palazzo Bembo during the 2023 and 2021 European Cultural Center’s Venice Architecture Biennale exhibitions. Her recent publication, Earthlings: Imaginative Encounters with the Natural World received a silver medal in the 2023 Nautilus Book Awards.
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