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Dispels Orientalist Prejudices
Nélida Nassar 05.3.2012
The School of the Museum of Fine Arts, Boston (SMFA) presented its 2012 Medal Award to the noteworthy Moroccan artist Lalla Essaydi, at the Museum of Fine Arts gala celebration. Essaydi shares this honor with a roster of prominent artists such as Alex Katz, Kiki Smith, Claes Oldenburg and Coosje van Bruggen, Ellen Gallagher and Robert Rauschenberg. She works in various mediums: Painting, video, film, installations and analog photography.
Through her personal experience and upbringing, her photography addresses the complex Arab female identity and its representation.
She is concerned with the concept of threshold and the relationship between architectural and psychosocial boundaries in Arab culture. She believes that the public and private space has been determined by women’s sexuality.
Arab women inherently occupy a private space, but, wherever a woman is, when a man enters that space, he transforms it into a public space.
This separation of public and private is testament to the power of women’s sexuality. It also helps explain how Arab women became sexualized under Western gaze. In a sense, what the West did was to dissolve the boundaries between public and private, and – in response – the Arab world reinstated these boundaries in a clear and visible way. Behind the veil, an Arab woman maintains a private place, even in public. I spoke with Lalla at the Museum of Fine Arts gala.
Nelida Nassar: I will start with an obvious question how did you get into art?
Lalla Essaydi: I have been drawing and painting since my childhood. My father was a self-taught artist and I remember spending hours in his studio playing with colors. I will always associate the quality time I had with my father with art.
NN: What is it about the process of art making, especially photography, that you like so much, besides its physicality?
LE: My work is very process-oriented. I believe the time I spend making the work is the defining aspect of being an artist. The process of making generates new perceptions and facilitates personal transformation, which in turn may yield new forms of expression. The arc of the entire process, from start to finish, is very liberating.
NN: You seem to have both an analytical side and artistic one. Can you discuss this with us? LE: I strongly believe that the analytical side and the artistic side are one, or at least should be one. I always do a thorough research before I even start planning the visual vocabulary of the artwork. For me, all mediums are the same as long as they help me express and convey my message to the viewer. I started learning photography as a tool to document my paintings. It became a medium I fell in love with. So painting, photography, installation or film, for me it is just a means to achieve something to create. Writers mostly influence me. Maybe because of my continuous research into feminist art and writing, but it’s mostly writers. For example, Fatema Mernissi, a Moroccan sociologist; Noelle Sayadaw, an Egyptian sociologist; the work of Linda Nochlin, a feminist art historian; and Edward Said, those are the major influences in my work.
NN: You mentioned the work of Mernissi, Sadaway, Nochlin and Said. What are the themes, ideas, and political or social positions in their writings that influence your work? Or what is it that you borrow from them and articulate?
LE: Sometimes, I think that my work is a visual interpretation of the writing of these authors. I am fascinated by their research and I learned a lot about orientalism/colonialism and the role of the “Arab” woman in orientalist tradition from their books.
NN: Do you consider yourself a feminist?