A Window with(out) a view: The work of Nasrin Abu Baker created in the JCU artis residency program at the Albright Institute of Archeological Research in Jerusalem.

 

During Nasrin Abu Baker residency, which took place in Jerusalem, under the auspices of Jerusalem Culture Unlimited (JCU) at the Albright Institute of Archeological Research, the artist took on a “flaneur” approach. Walking aimlessly, yet with the intention of piecing together a personal story about the city, she began collecting found objects, metal fence toppers, and pieces of scattered litter. In addition, she collected stories from anonymous people she encountered in her walks. These remnants and narratives informed her current series of sculptural objects, consisting of four identical forms that are evocative of windows. Similar to the way in which window frames specify and define the landscape directly in front of us, Nasrin’s windows contain compositions and surfaces that are confined to the square lines, presenting viewers with the artist’s inner landscapes. 

The shape of these pieces recall an architectural style of arched windows that is typical for Jerusalem, and exists on many building facades. The square on the bottom is disconnected from the arch on top, emphasizing their formalistic and modern qualities. The separation between the top and bottom segments, enables the artist to treat each part individually, and employ each one with visual details, combining decorative elements (on top) juxtaposed with abstract and geometric forms (on the bottom.)

The arches in all four contain figurative details of mostly flora and fauna, associated with local kitsch and references architectural ornamentation and Armenian ceramics – a nod to the city’s touristic aspect and souvenir collectors. The oeuvres that are beige and brown in color, contain colorful Armenian plates and tiles that are shattered and partially covered with concrete. Through this gesture, the artist is able to convey Jerusalem’s fractured reality – a segregated city whose Eastern and Western parts are so incredibly divided. The juxtaposition of kitsch elements and decorative shapes alongside abstract and minimalist forms all within a single window, evokes the discordance and harmony of this city. This bleak view is Abu Baker’s personal window, where beautification is overshadowed by the city’s flaws and impairments. How can a holy city be so divided? Why does such a discrepancy exist between East and West? And, can Jerusalem mend its many fissures?  

The artwork's lower section containing rectangular shapes, are nearly entirely covered by concrete, sealing the windows’ openings. The concrete material, which the artist often uses in her work, evokes construction sites, brutalist architecture and masculinity, while on the local level it also recalls checkpoints, militarism and the separation wall that has divided the Palestinian land. Coating the window frames with concrete, Abu Baker manipulates the material’s original use by presenting forms and patterns that are soft and perceived as gentle. There are frames for instance that contain reliefs of decorative patterns molded from stencils, or a semi-white square with gold veins.The cross is evocative of modernism and minimalism, suggesting the city’s enigmatic and religious forces. The contrast between the roughness of the material that bears delicate lines, speaks of the city’s verge of collapse and the disparity between different areas, questioning Jerusalem’s aesthetics, divinity and solidarity.

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Text by: Shlomit Dror

Photography by: Nasrin Abu Baker

Supported by:

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