Odalisque. Lalla Essaydi at Lisa Sette Gallery posted by, carmelita Caruana, related. In an exploration into her home country and her childhood Essaydi reverses the meaning of these spaces in Converging Territories, using them as a place where women are seen, not hidden. All visible surface -backdrops, floor, drapery, skin are inscribed with Arabic calligraphy.
Exhibitions, anila Quayyum Agha, Hidden Diamond, 2016, lacquered steel and halogen bulb, 36 x 36 x 36 inches, courtesy of the artist, Anila Quayyum Agha. Converging Territories #11, les Femmes du Maroc #19, les Femmes du Maroc Harem Women Writing. Essaydis subjects are given a voice not only through their actions, but also through the written word. Meanwhile, her images reflect the complex female identities found in Morocco and other Muslim societiesand give women the opportunity to engage in the emerging culture of Islamic feminism. In a seeming contrast, the calligraphy used is a sacred Islamic art form that was once inaccessible to women. These texts are subversive on several levels. The rebelliousness of this act is added to by the fact that the words are drawn with hennaa form of adornment considered womens work. As an artist living and educated in the West, Essaydi explores her past and family with this highly personal work. Lalla Essaydis work continues to expose to the western mind the mystery that surrounds the rituals of Muslim women in the present day. Yun-Fei Ji, The Staging Area, 2016, ink and color on Xuan paper, 13 1/2 x., courtesy of the artist, Yun-Fei. Converging Territories #30, les Femmes du Maroc Reclining Odalisque.