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.837 and 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.837 and 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. 23.2 x 16cm (irregular) black ink on white Japanese paper on two sheets 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. 31.5 x 21.7 and taped to back of card mount. Mount is 40 x40cm. Drawing is signed and dated on the back Hefuna 1999. Overall the image is two upright columns of small rectangles with an open space between. Surmounting the open space a rectangle containing small rectangles same size of those in side columns. On the paper beneath a vase like vaguely heart shape with column of rectangles divided into triangles. |
| Dimensions |
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| Marks and inscriptions | Hefuna 1999 (Signature;date; on back; 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.837 and E.839-2002. |
| Collection | |
| Accession number | E.838-2002 |
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| Record created | May 1, 2003 |
| Record URL |
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