Drawing
1999 (made)
| Artist/Maker | |
| Place of origin |
Artist Susan Hefuna is half Egyptian, half German and has spent her life divided almost equally between the two countries. These drawings are inspired by the mashrabiyas or wooden fretwork screens placed in the windows of Arab houses. They allow the person inside the house, usually a woman, to look out, while those outside are unable to see in.
The notion of gendered space, which has been emphasised by the artist, is examined by presenting the drawings over two layers: the one below is blurred and appears 'veiled', but at the same time, in terms of space and form, closely connected to the drawing clearly visible on the layer above. The screened window is also used to place ceramic storage pots to cool the contents and the design of some of these mashrabiya drawings (of which there are several) reflects this use of the space.
There are two related drawings in the Collection: E.838 amd E.839-2002
The notion of gendered space, which has been emphasised by the artist, is examined by presenting the drawings over two layers: the one below is blurred and appears 'veiled', but at the same time, in terms of space and form, closely connected to the drawing clearly visible on the layer above. The screened window is also used to place ceramic storage pots to cool the contents and the design of some of these mashrabiya drawings (of which there are several) reflects this use of the space.
There are two related drawings in the Collection: E.838 amd E.839-2002
Object details
| Categories | |
| Object type | |
| Materials and techniques | Wash drawing in black ink on white Japanese paper in two layers, one pasted over the other |
| Brief description | Wash drawing, black ink on white Japanese paper on two sheets pasted together one over the other, Susan Hefuna, Egypt, 1999 |
| Physical description | Drawn surface approx. 21x 15cm (irregular) black ink on two sheets of white Japanese paper pasted together one over the other, drawing on underlayer ghosts through. Free hand drawing with brush, of rectangular geometric pattern based on the 'Mashrabiya' open fretwork screens placed in the windows of Arab houses. The drawings are on larger sheets than the drawn surface, i.e. approx. 35 x 24.5cm and taped to back of the window mount. The mount is 40 x40cm. Drawing is signed and dated on the back Hefuna 1999. Overall the image is like an asymmetrical window with six 'apertures' - two small at the top, two large in centre, and two very small at the bottom. These are divided by and surrounded by rows of linked black lines - rather like open 'chain mail', and a magnified version of this same pattern ghosts through from the paper below. |
| Dimensions |
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| Marks and inscriptions | Hefuna 1999 (Signature; date; on back, toward lower margin; pencil; 1999) |
| Historical context | The rectangular geometric pattern of the drawing is based on the 'Mashrabiya' open fretwork screens placed in the windows of Arab houses. |
| Subjects depicted | |
| Summary | Artist Susan Hefuna is half Egyptian, half German and has spent her life divided almost equally between the two countries. These drawings are inspired by the mashrabiyas or wooden fretwork screens placed in the windows of Arab houses. They allow the person inside the house, usually a woman, to look out, while those outside are unable to see in. The notion of gendered space, which has been emphasised by the artist, is examined by presenting the drawings over two layers: the one below is blurred and appears 'veiled', but at the same time, in terms of space and form, closely connected to the drawing clearly visible on the layer above. The screened window is also used to place ceramic storage pots to cool the contents and the design of some of these mashrabiya drawings (of which there are several) reflects this use of the space. There are two related drawings in the Collection: E.838 amd E.839-2002 |
| Collection | |
| Accession number | E.837-2002 |
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| Record created | May 1, 2003 |
| Record URL |
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