Yasmine Alnabulsi Feb 2015
In my work I endeavour to incorporate various elements, constantly experimenting with the morphing of visual forms and forms from nature not only limited to jellyfish and fungi but also experimenting with the wide variety fauna and flora.
The quality of line can make an object look soft, fluid and carefully put together or powerfully bursting out of the surface. The line’s sensitivity to the dents and layers is integral to the creation of this environment; intricately drawn creatures come to life, and move freely n the surface, which looks as if it is seen through a microscope. Not unlike Ernst Haeckel’s process as a biologist and as an artist, collecting specimens and examining them under the microscope, then accurately drawing them as biological, scientific illustrations.
By constantly revisiting aquariums and natural history museums and archives, studying creatures I learn about the science as well as the aesthetics and movement. Also stressing the current art exhibitions that are a wealth of knowledge about making working, and the layering such as Sigmar Polke (closed) and Marlene Dumas (current) at the Tate modern.
In reflection, the history of painting, particularly Hieronymus Bosch’s Garden of Earthly Delights has been mentioned as a strong reference in the work. The cells in the background that look like mines reveal a threat behind the seemingly beautiful creatures floating on the surface.
I wanted to see how the addition of elements of fashion making, like sewing sequins and metallic threads would affect the piece. And I found that it adds an element of aesthetics similar to Raqib Shaw’s decorative process. These elements directly refer to the iridescent quality of deep-sea creatures and bioluminescent coral and algae.