As an artist of dual heritage — German and Egyptian — Susan Hefuna’s creations reflect her experience dealing with cross-cultural codes.
The superimposed layers of her drawings, delimited designs of her photography, characterised representations of her videos and substantive installations allude to limitless meanings, from the direct to the elusive.
More importantly, her creativity, inspired by the theme of Mashrabiyas — those gridded windows of ancient Islamic architecture that allow air circulation, filter light and not only protected women from public view but also allow them to see the outside world — elicits awe; it separates, yet also filters and joins.
Hefuna speaks to Weekend Review about her artistic oomph.
How did your association with art begin?
Life inspired me to do art. I started as a child to express myself in colours and structures and since then didn’t stop. I created my own unique language beyond words. Later, I studied art. It was the only road to go for me.
How do the Egyptian and German influences satisfy the highly creative artist in you?
First of all, I am a woman, and I am observing the world from the point of view of a woman, whether in Egypt or in Germany or wherever I travel around the world. For the past 14 years, I have divided my time living and working between Cairo, Düsseldorf and New York. In addition, I travel, exhibit and do projects all over the world.
And so, my work is more inspired by being in-between — by travelling from one point to the other. I am interested in the tension between the cultures as well as in the joints. My work is a mix of various influences and experiences.
Egyptian and German heritages are distinctly dissimilar. How do you handle this disparity?
As I grew [up] in both cultures, I don’t feel there is any dissimilarity. Indeed, I cannot really say what is German or Egyptian in my work. I am beyond that today. Generally, I feel a tension between belonging and non-belonging. However, the cause of this tension comes from projections of the outside world rather than from how I feel inside myself.
Is there any difference in the way viewers in the West and those in the East perceive your art?
People read my work quite differently, depending on their own cultural and ethnic background. For example Mashrabiyas with text ‘ANA’, in the West, is seen as an abstract image. For [the Arabic viewer] the work has another meaning, which is the context of “Ana”: “myself” and not just an abstract pattern. The work is the same, but the viewers read it differently depending on what they see and what they know. For me, it’s very interesting and inspiring to get different feedback on my work all over the world. In 2004, I had a big solo show travelling from Germany to the UK and Egypt, titled Xcultural codes, which was dealt with the different layers of meanings and messages in colours and images.
What is the rationale behind the use of Mashrabiyas in your works?
In general, I am attracted to the abstract forms of structures. All my works are inspired by structures. I have found inspiration in the beauty of the architectural structure and atmosphere of Mashrabiyas: that which protects the inside world from the outside; filtering the light and cooling the inside space; allowing one to observe without being seen. This has influenced my work, especially my ink drawings. The Mashrabiya became for me a very abstract symbol that operates in two directions with the possibility for dialogue, rather than closure.
Do you still keep that influence alive?
I will continue to work with Mashrabiya structures. I do not know how long. I feel there is still a lot to do.
What about the typography that accompanies these creations?
I started weaving words into my works in 2004. I use words because I play with different cultural codes. As I said before, viewers in different counties read and understand my work differently; to empathise with the variation in views, I couch words on my designs and layer my drawings.
What was your idea behind taking up the pinhole camera although there were excellent alternatives?
The pinhole camera helps me give a real sense to my cultural themes. I started using it because I was playing with the clichés of oriental black-and-white photographs which where produced for the West.
But, this could have been done through photo manipulation on a computer?
Yes. However, I wanted to include the streets as a tool ... the imperfection and uncontrolled moments. That’s what interested me, and that’s why I used real life and not manipulating effects by the computer. I work with digital and pinhole cameras. It depends on the concept of a body of work.
When you start a new project, do you just start shooting and see where it takes you? Does it happen for you that there’s a surprise when you develop?
It depends on the medium I use and also on how the process of creation happens. For me, the invisible way of preparation is as important as the final visible work. Before I shoot, I walk in the streets of Cairo without a camera, observing and imagining the pictures in my mind. However, working with the pinhole camera takes more preparation than with a digital camera. With the digital camera, everybody seems to be able to capture everything, everywhere, anytime.
Does layering of your drawings get over at once or does it take several days? How does it feel when you compare the two-dimensional first layer with the final layer that gives the illusion of a third dimension?
I never know how the result will look like. It is meditative. In a peaceful surrounding, I start with the first layer. The second interacts with the first and so on. I draw in one go; as far and as long the ink allows me to. The final piece depends on the observer; the viewer is part of my work. I want the viewer to see different layers.
In 1992, you actually sensed the crystallisation point, maturation and multicultural element in your art. How do you think your art has evolved when compared with your early works?
That [in 1992] was the first time I became aware of the different layers of meanings in my work — during my first solo show in Egypt. One of my digital photographs of a Mashrabiya was instantly perceived as a familiar object by the Egyptian public. This first-hand and unexpected feedback was a complete surprise to me. The Egyptian audience saw the essence of the work and not its reflection.
From then on, my works are enriched by [such varied] feedback. For the past 16 years [I have been adding] layers of meaning [and] cultural codes to my work.
At what time of the day do you get the best creative output?
The concepts for my projects mostly come up while travelling. The street is my studio. I’m working everywhere and always. To do my drawings, I have to be in a very meditative atmosphere, far away from daily life and people. I have to concentrate on the spirit.
Tell us something about the project “Life Stories”, which brings you to Abu Dhabi.
The “Life Stories” project comprises a one-week workshop with 15 Emirati students of the College of Arts and Sciences, Zayed University.
It aims to discuss the issues of visibility and invisibility, inside and outside, seeing and not seeing in the context of a reflection about the life stories and the identity of female Emirati students.
I find it important as an artist to teach young women the process of making art and developing ideas, to give back something of my experience and knowledge. You can only teach the process by doing it.
Susan Hefuna’s art exhibition and the Life Stories project are organised by the Goethe Institute and the Abu Dhabi Music and Arts Foundation in cooperation with Abu Dhabi Authority for Culture and Heritage, Zayed University, Al Ghaf Gallery and supported by the Emirati German Friendship Society.
Exhibition dates: May 20 to May 29, at the Ghaf art gallery.
Layla Haroon is a freelance writer based in Abu Dhabi.
