Saba Innab’s series of sculptures rethinks dwelling and building in temporariness departing from refuge, exile and migration. It is a process of collecting spaces, architectural typologies and know-hows of dwelling in suspension and waiting. Reclaimed from personal memory and experience, those spaces are then recreated and materialized, becoming a topographic realm between the past and the present; forming an archaeological site, or a record inscribed in the architecture of our everyday life. By freezing a visual memory of a space then deconstructing it into angles, materials and shadows, another layer is revealed; regional references, alienation and attempts to unravel the unknown emerge in the context of processes of modernity- modernization in the host countries.
As a response to the transition from the analog to the digital and the overload of information and media-based production, Caline Aoun proposes an artwork consisting of a series of experiments with inkjet printing, that exploit the material realities of the image – inherent in its digital or mechanical production or in its physical or virtual distribution – as a way to generate aesthetic production and meaning. The proposed work seeks to address the status of image-as-object in our contemporary context. The current trend of our media environment is in the direction of digitization, with its attendant ideology of dematerialization and augmented reality. Yet it is precisely in this over saturation of digital images that the grain, the seams, the mechanical means of production that underlie digital images begin to show themselves. Aoun’s work revels in this paradoxical juncture where the materiality of the image reasserts itself. She defines images as objects that are part of an active system with their meaning impossible to be defined as inseparable from their material realities.