This work informs a contrasting fusion between the normative and non-normative. Normative by way of conception, the tools used in the creative procedure, and as part of the Arabian heritage, derived from the Arab environment in general, and the Iraqi one in particular. The ‘normative’ here does not indicate subjective repetition, rather it is the closeness to native form and design in fashioning new ideas ideas from autochthonous roots. The non-normative here originates in the idea of moving the work of art, embodied in a canvas or frame hung ona wall, to create new perspectives for the viewer and to direct the gaze from a mere straightforward angle to an exploration of the artistic work as a whole. Thus, light surrounds the work and allows the spectator to view the interplay and reflections of specks of light on its surface.
Iraq, the cradle of the Tigress and Euphrates, is not only beloved for its unique palm expanses but also cherished for its bountiful pomegranate trees, flourishing by the shores of its rivers, a symbol of ancient mesopotamian cultures. The pomegranate is not only a work of art here but an integral piece of the collective memory of Iraq. “My motivation for choosing this particular size to denote ‘pomegranate’ was not mere indulgence in expanding size. In a previous artwork I had fashioned the pomegranate out of protruding, carved letters forming a homogenous picture, puzzling the eye of the onlooker and arousing memories and longing for the pomegranate trees with their dangling branches, mirrored in the Tigress and Euphrates. The purpose of choosing this large size here is to make the pomegranate the unique instrument, apart from the arrangement of individual raised letters, portraying it as an autonomous work of art.”