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LAST CHANCE The Magical Number Two, Plus or Minus 7
This three-artist exhibition considers the complexities of memory; it takes its title from a landmark 1956 paper by George A. Miller in Psychological Review, discussing short-term memory and the storage of memories.
For Asma Khoory, the large-scale canvas work Recollection, created from carefully dismantled and altered tea filter papers, acts like a map of time, with each square representing a passing moment. A patchwork landscape of greys, browns and off-white hues, enhanced by dust, tea and ink, mimic false age and explore aspects of deception that can be found in memory. A smaller, sculptural work created using the same method, takes the form of a solemn figure resting on a pedestal, seemingly exhausted by each passing moment.
Shadow by Salama Nasib (above) is a personal series that focuses on autobiographical memories. Using photolithography and blind embossing, the artist creates intimate, detailed works depicting a sense of what is there, and what is not, and considers how memories alter and fade over time. The creation of the work also informs the work itself, the type of printmaking and embossing used is thoughtful and meditative, giving the viewer time to consider the memories depicted while the works are created.
Sara Al Haddad confronts herself in the 2015 work, as you try to forget me, presented in its third iteration at the UAE Pavilion in Venice 2017. This ever-changing work takes on new meaning and shape depending on its location, created using a grey/black thick yarn, crocheted into a weave loop that the artist first saw in a dream. Like memories themselves, Al Haddad describes how the work itself is designed to develop and change over the passing of time.