Arabella Dorman Creates ‘Suspended’ Artwork from Clothes of Syrian Refugeeshttps://english.aawsat.com/home/article/1156311/arabella-dorman-creates-%E2%80%98suspended%E2%80%99-artwork-clothes-syrian-refugees
Arabella Dorman Creates ‘Suspended’ Artwork from Clothes of Syrian Refugees
The Suspended art installation at St. James’ Church. (courtesy of the artist’s website)
We have heard countless stories about boat accidents carrying Syrian refugees escaping their war-torn country for an unknown future in Europe. Many of the refugees do not make it to their final destination and instead perish at sea and their bodies end up washed up on the shores of Turkey, Greece and Italy.
According to the International Organization for Migration (IOM), more than 8,000 people have lost their lives since 2014 in their attempt to cross the Mediterranean towards Europe. More than 1,200 of the victims have not been identified and have been buried in unmarked graves.
Humanitarianism still exists in the world however. Some, like British artist Arabella Dorman still believe in humanity. She is known as the “war artist,” but after seeing her incredible art installation at St. James’ Church in London’s Piccadilly, she should instead be called the “artist of humanity” because she is refusing to turn the Syrians who drowned at sea into just numbers and statistics. She instead chose to immortalize their memory in an artwork that speaks to man’s humanity.
The “Suspended” installation hangs on the ceiling of the St. James’ Church. It is comprised of some 800 discarded articles of clothing that used to belong to Syrian women, men and children and which she collected during visits to the Greek island of Lesbos.
Dorman told Asharq Al-Awsat that she visited many countries that have been destroyed by war, such as Iraq and Afghanistan. She also visited the Palestinian territories and met the people, who have been forgotten by humanity.
She has long been affected by the tragedies of the refugees of the countries she has visited. In 2014, she traveled to Lesbos and was struck by the image of the shore that was strewn with the discarded clothes of refugees.
“I had an urge to rise up against this cruelty. As a mother of two children, it pained me to see the clothes of children. The pain I felt cannot be put into words,” she said.
“I am an artist who channels her feelings into her paintings, but after seeing these clothes, which are the only remnants of these people, I decided to undertake a more powerful project,” she explained.
It was from that Greek shore that she decided to turn the clothes into an artwork that reflects the humanity of the world.
Hung in the form of the circle, to represent the earth, a light is shone through the suspended clothes in St. James’ church to represent the hope “that is inside us as humans.” When this light is turned off, darkness and human tragedy take over.
“Suspended” was possible through the efforts of the charitable Starfish Foundation and several volunteers, who collected some 1,400 articles of clothing from the Lesbos shore. Around 800 were chosen for the installation. The exhibit opened on December 11, 2017 and is expected to run until February 8. Dorman hopes that the artwork can later be installed at Canterbury Cathedral.
If there is one article of clothing that can shake a viewer to the core, she said, it is a shirt that reads “My first Christmas.” The artist added that she gets chills seeing that shirt because the child who wore it had no idea that his first Christmas would also be his last.
An Imaginary Archaeological Site Evokes the Fragility of Memory in the Saudi Pavilion at Venicehttps://english.aawsat.com/varieties/5270674-imaginary-archaeological-site-evokes-fragility-memory-saudi-pavilion-venice
An Imaginary Archaeological Site Evokes the Fragility of Memory in the Saudi Pavilion at Venice
Mosaic carpet reviving the memory of destroyed places (Artist and Visual Arts Commission)
In the Saudi Pavilion at the Venice Biennale, a Saudi artist of Palestinian origin, Dana Awartani, takes us on an immersive journey to discover an artistic map of archaeological and historical landmarks destroyed by war. It is not a geographical map, but rather a magnificent mosaic composed of thousands of clay pieces, molded and baked under the Riyadh sun, then colored with natural pigments to form geometric patterns and designs.
These patterns are drawn from historical sites, buildings, and monuments that stood for centuries in the Arab region, witnessing the rise and fall of states and kingdoms, until they too were destroyed, stripped of their place and significance in the collective Arab heritage.
Artist Dana Awartani (Artist and Visual Arts Commission)
In her work, Awartani has consistently depicted these waves of demolition and destruction. Her monumental piece at the first Riyadh Contemporary Art Biennale, which encapsulated a part of the history of the Great Mosque in Aleppo, Syria, and the tiles of the Hammam al-Samra in Gaza, which she presented at the Bukhara Contemporary Art Biennale last year, was unforgettable.
Documentation with Clay and Colors
Awartani has been working on this theme for years, convinced that we must document what we lose daily, through destruction and attempts at erasure.
She speaks of her research to learn more about the increasing number of buildings and archaeological sites that are being demolished. Her work coincides with escalating violence in the region, thus providing an immediate commentary as events unfold.
In Venice, her work documents twenty-three sites of significant historical importance, each possessing immense cultural and material value.
Part of the Saudi pavilion at the Venice Biennale (Artist and the Visual Arts Commission)
The Beginning in Riyadh
In her studio in Riyadh, Awartani began working on the monumental piece that represents Saudi Arabia at this year’s Biennale. Under the scorching Arabian sun, workers and craftsmen were engrossed in shaping and arranging clay molds according to a meticulously detailed blueprint. Awartani would be there, overseeing the craftsmen’s labors, discussing how their pieces fitted into the larger concept.
For her Venice piece, she chose a title inspired by the poetry of Abu Nuwas: "May your tears never dry, you who weep over the ruins." However, for the poet such behaviour was a waste of time. Awartani begs to differ.
The theme of ruins is a recurring motif in her work. She has described numerous Arab monuments whose virtual destruction merits our tears. Her work involves a unique perspective on these remnants, incorporating them into her art.
During our interview, she spoke about archaeological sites, mosques, churches, and several synagogues that were reduced to rubble by an aggressive attack that disregarded history and culture.
In contrast to Abu Nuwas, she draws upon the melancholy of these places: “I believe that these stones carry their history and tell the stories of the people who lived here for hundreds of years. These stones were all that remained after the living had passed away. Therefore, I did not agree with that poem, but I quoted that particular sentence out of context and used it to illustrate my point of view.”
Her work draws on 23 historically significant sites (Artist and Visual Arts Commission)
The Mosaic Carpet
Awartani's work dominates the space of the Saudi pavilion, resembling a mosaic made from colorful bricks. The piece is divided into different visual themes, all inspired by the Middle East, as she explained during a special tour of her studio outside Riyadh last January. "All the motifs I used here are taken from different places in the Middle East, and all of them have been destroyed," she said.
In her research, she documented the damaged sites and what happened to them, then extracted distinctive artistic forms and motifs from each location. She points out that the shapes and decorations vary in origin and history, including Roman and Byzantine styles: "There are many shapes and designs, but I make sure that every design I present includes a reference to a place that’s been destroyed."
At the Venice exhibition, all this information is displayed on one of the walls.
A mosaic carpet revives the memory of destroyed places (Artist and Visual Arts Commission)
An Imagined Archaeological Site
The location of the Saudi pavilion offered the artist a tremendous opportunity to showcase her work. The space is vast and abstract, and Awartani had the choice of several ways to present her piece, but she rejected the traditional modes of presentation. To convey the idea of "liberating antiquities from a colonial perspective," she wanted the viewer to be on the same level as the artwork, not gazing down at it from above. She also aimed to create an immersive experience, drawing visitors into the work. They walk through designated pathways between adjacent mosaic tiles, raised on wooden bases, without artificial or imposed boundaries. "I wanted the audience to feel like they were part of the work, walking among these elements," she says. "It's like an imagined archaeological site. That's why the entire floor is covered in earth."
She describes the work as an "immersive ground installation" that incorporates a mixture of different designs. "I didn't want to create a map showing the origin of each pattern, because many of these patterns exist in multiple locations. It's a shared heritage, and you can't simply say: this is a Palestinian pattern, this is a Syrian pattern, and this is a Lebanese pattern. They are all very similar; our heritage is shared and important to us all."
She explains the visual patterns and geometric designs used in the work: “There are two patterns from Gaza, one from the Al-Bureij mosaic, and the other from the Monastery of St. Peter. There is also a collection of forms from Beiteddine Palace in Lebanon, and a palm tree from a monastery in Syria. Upon entering the building, the visitor finds a wall plaque detailing the main concepts and listing all the sites. Most are residential spaces, such as houses or living rooms, but many are Christian sites: monasteries, churches, the Church of the Nativity, the Church of All Nations, and Bethlehem and Jerusalem, which have suffered historical damage. This is because mosaics are used extensively in these places.”
Architectural, botanical, and animal-inspired designs drawn from destroyed Arab sites (Artist and Visual Arts Commission)
Fragile Beauty
From the moment we enter the hall, the pieces unfold before us with serene and fragile beauty. We follow different patterns, noticing that each belongs to a specific place. Some are cracked and appear as if they have just arrived from their actual geographical location, a place of destruction and fragmentation. But this fragile state stems from the artist's desire for the work to reflect the condition of the damaged archaeological sites. In the clay mixture used, she omitted adding straw, which helps bind the pieces together, and left the clay pieces to the effects of nature. She believes that the occurrence of cracks is natural and serves the idea. She did the same when using natural colors to paint the brick pieces and did not try to fix them with artificial materials.
"It won't stay this vibrant, because the colors are natural and are absorbed by the clay, but I also didn't want to put a sealant or anything artificial on it."
Architectural designs inspired by destroyed sites (Artist and Visual Arts Commission)
Mosaics.. From East to West and Back
The artist chose to use mosaics as an embodiment of the connections between East and West. "During my research, I discovered that the first mosaics appeared in Mesopotamia, specifically in Iraq. They then spread to the Roman Empire, and mosaic art flourished in Italy, where it was widely used in Christian places of worship. When the Byzantines reached Palestine, Syria, and Lebanon, they brought this art back to the region. Therefore, most of the patterns I use here are inspired by traditional mosaics from that era."
The mosaics seem right at home in Venice, whose churches boast exquisite examples of them.
A Collaborative Endeavor
The work required over 30,000 hours of labor, involving thirty-two artisans from Riyadh and beyond. Awartani has regularly collaborated with traditional artisans and there is a philosophy behind this. She sees it as essential to her work: “I try to think of it this way: I wouldn’t go to a factory and ask them to carve the stones by machine. I prefer working with people in the traditional way because I also care about preserving the old techniques. The same applies to this project. It was done using an old kind of clay, but I modified the technique slightly. Traditional mud bricks contain sand and straw to make them strong and prevent cracking. I deliberately omitted these to make them crack. Moreover, mud bricks were used in building standing structures, but I use them as flooring. So, it’s essential to understand the craft we’re working with. I make sure to involve people throughout the process. They will see images of the project, and their names will be credited as my collaborators.”
*The Saudi Pavilion is commissioned by the Visual Arts Commission of the Ministry of Culture, under the supervision of curator Antonia Carver and assistant curator Hafsa Al-Khudairi.
Iraq's Historic Marshes Revive as Water Returns after Years of Droughthttps://english.aawsat.com/varieties/5270585-iraqs-historic-marshes-revive-water-returns-after-years-drought
A drone view shows a boat moving through water channels amid vegetation at the Chibayish marshes in Dhi Qar province, Iraq, May 7, 2026. REUTERS/Thaier Al-Sudani
Iraq's Historic Marshes Revive as Water Returns after Years of Drought
A drone view shows a boat moving through water channels amid vegetation at the Chibayish marshes in Dhi Qar province, Iraq, May 7, 2026. REUTERS/Thaier Al-Sudani
After years of drought that left large swathes of Iraq's historic marshes cracked and empty, rising water levels are beginning to revive the wetlands, drawing buffalo herders and fishermen back to areas once abandoned.
In Chibayish marshes in southern Iraq, canoes once again glide through waterways that had dried up in recent years, while water buffalo wade through restored marshland and patches of green pasture have reappeared.
"Some time ago, all our livestock died and there was no water at all," said Haidar Qassem, a farmer raising water buffalo in the central marsh.
“Many of our people migrated because of the drought,” Qassem said, adding that water had returned this year, livestock numbers were recovering and some families had come back.
The change in the region's fortunes follows heavy winter rainfall that boosted reservoir levels, enabling Iraq’s water resources ministry to release growing volumes into the marshes.
Residents are still hoping for further water releases, Reuters reported.
Fishermen stand in a boat during sunrise at the Chibayish marshes in Dhi Qar province, Iraq, May 7, 2026. REUTERS/Thaier Al-Sudani
Iraqi marshland expert Jassim al-Assadi said the Ishan Hallab area — part of Iraq's marshes, believed by some to be the biblical Garden of Eden and designated a UNESCO World Heritage site in 2016 — had dried up completely between 2021 and 2025, forcing herders to abandon it.
In recent months, the wetter conditions have helped restore the Ishan Hallab area, reviving pastureland and allowing some residents to make their way back to the area.
Al-Assadi said the proportion of submerged marshland had risen to between 32% and 36%, compared with no more than 8% over the past five years, a view Iraqi water resources officials confirmed.
The higher water levels were also supporting a gradual recovery in biodiversity, including fish stocks, vegetation growth and reeds used by residents to build traditional homes.
A buffalo herder guides water buffaloes through marsh waters at the Chibayish marshes in Dhi Qar province, Iraq, May 7, 2026. REUTERS/Thaier Al-Sudani
The marshes have been inhabited for thousands of years by the Marsh Arabs, whose livelihoods and traditions are closely tied to the water.
Mazin Wadai, a water resources official, said larger inflows, improved water management and stronger seasonal rainfall had boosted reserves in dams and increased flows in the Tigris and Euphrates, allowing more water to reach the marshes.
The water resources ministry said Iraq's strategic reserves have increased by about 6 billion cubic meters this year, giving authorities greater flexibility to manage supplies during the summer months.
Iraq's marshes, once stretching across more than 3,600 square miles (9,500 sq km), were heavily drained in the 1990s by Saddam Hussein, who accused the Marsh Arabs of treachery during a 1980–1988 war with Iran, in a bid to root out insurgents.
Many residents fled, but since Saddam's overthrow in 2003 parts of the wetlands have been reflooded by the government, with around 250,000 Marsh Arabs gradually returning.
For residents like buffalo herder Raheem Abdul Zahra, the recent improvements have transformed daily life.
"The land was dry, but now it's alive again," he said.
Separation Surgery of Tanzanian Conjoined Twins Begins in Riyadhhttps://english.aawsat.com/varieties/5270508-separation-surgery-tanzanian-conjoined-twins-begins-riyadh
Separation Surgery of Tanzanian Conjoined Twins Begins in Riyadh
The separation procedure is scheduled to be performed in 10 stages and will take approximately 16 hours. SPA
The medical and surgical teams of the Saudi Conjoined Twins Program (SCTP) began on Thursday the complex procedure of separating 18-month-old Tanzanian twin girls, Nancy and Nice.
The surgery is taking place at King Abdullah Specialized Children’s Hospital (KASCH) at King Abdulaziz Medical City of the Ministry of National Guard in Riyadh in implementation of the directives of Custodian of the Two Holy Mosques King Salman bin Abdulaziz Al Saud, and Prince Mohammed bin Salman bin Abdulaziz Al Saud, Saudi Crown Prince and Prime Minister.
In a statement to the press, Advisor to the Royal Court, Supervisor General of King Salman Humanitarian Aid and Relief Centre (KSrelief) and head of the Surgical and Multidisciplinary Team for the SCTP Dr. Abdullah Al Rabeeah stated that Nancy and Nice arrived in the Kingdom on January 27.
Following the twins’ admission to KASCH, the medical team conducted comprehensive and detailed examinations of the girls, who are conjoined at the lower chest, abdominal, and pelvic areas. Each girl has one leg, and they share a third, deformed lower limb.
Al Rabeeah explained that the medical team conducted a thorough series of examinations and clinical consultations to discuss details about the girls’ case; the twins share one liver, large intestine, anus, urinary and reproductive systems, and also share an external genitalia malformation.
The separation procedure is scheduled to be performed in 10 stages and will take approximately 16 hours.
A team of 35 consultants, specialists, and nursing and technical staff from the fields of anesthesia, pediatric surgery, plastic surgery, pediatric urology, pediatric orthopedics, and other supporting specialties will participate.
Al Rabeeah clarified that while this procedure is delicate, it has a success rate of more than 60%. He stated that Nancy and Nice are the third pair of conjoined twins from Tanzania to be separated by the SCTP since the program began in 1990, and the 71st separation to date.
He added that a total of 157 cases from 28 countries across five continents have been reviewed by the team thus far.
On behalf of himself and his colleagues, Al Rabeeah expressed his appreciation to the Saudi leadership for their ongoing support and follow-up of the program.
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