I recently received my first review (which I see as feedback) in Art in Liverpool, written by Patrick Kirk-Smith, about my Al-Mayida installation as part of the Drudenhaus Collective at Bridewell Studios & Gallery. Seeing my work in print, positioned within a broader reflection on history, conflict, and artistic response—has given me space to consider how this moment connects with my ongoing practice.
He writes:
“In the centre of the main room at Bridewell Studios & Gallery is a table, set for two, with plates reading ‘Sykes-Picot 1916’. It offers little by way of introduction, and even less of an invitation. No chairs. No spare crockery. Just two places, set for Sir Mark Sykes and François Georges-Picot, who in 1916 drew up boundaries for the division of the Ottoman Empire without regard for the citizens of any of the new countries they were dividing…”
This review captures the essence of Al-Mayida, how history’s decisions linger in the present, shaping lives and political realities.
As I navigate my MA, this review serves as both encouragement and reflection. It affirms that my work is engaging with complex socio-political themes in a way that resonates beyond the gallery. It also challenges me to refine my approach, how can I sharpen these conversations while maintaining the poetic, unsettling subtlety that Al-Mayida holds?
The Drudenhaus Collective’s fundraising for Medical Aid for Palestine (MAP) adds another layer to this. Art, for me, has always been a site of action as much as expression. This project reinforces my belief that creative practice can exist in solidarity, bringing history into the present not just for reflection, but for tangible impact.
Learning Outcome 1: Formulate, describe and implement a challenging and self-directed programme of study, relating to your Study Statement. (Assessment Criteria: Enquiry):
Learning Outcome 2: Implement appropriate working methods for building an independent and effective self-organisation that enables the critical engagement with practice-based research. (Assessment Criteria: Process):
In projects such as Al-Mayida, I experiment with diverse curatorial approaches, but in Letters to the Moon, I prioritise participant interaction. My process-driven approach accepts ambiguity and improvisation, which is consistent with Jonathan’s reflection in action research. The final session of Art for Earth’s Sake was especially powerful, as we discussed how artists can practise sustainability, set a good example, and utilise art as a tool for social and environmental change.
Learning Outcome 3: Communicate a critical understanding of your developing practice. (Assessment Criteria: Knowledge, Communication):
My work is a type of social sculpture, an ever-changing discussion that connects personal and collective experiences. Projects such as Al-Mayida focus on unity and history, whereas Letters to the Moon promotes communication and community involvement. My efforts with asemic writing and childlike drawing disrupt art’s traditional hierarchies, emphasising authenticity and accessibility.
I would appreciate feedback on two experiments I’m currently working on: Asemic writing with translation and childlike drawings. Both approaches are new and quite different from one another.
As part of my ongoing exploration of communication, I recently created a series of childlike drawings for an upcoming exhibition in Glasgow, documenting my journey to Auchingarrich Park for the Pitch 2024 Ghost Art School exhibition.
Childlike drawings carry a unique authenticity and emotional impact. They are often raw, unfiltered, and filled with a sense of honesty. By using this approach, I aim to challenge traditional notions of what serious art should look like.
My practice has always focused on breaking down barriers and fostering meaningful connections, and this childlike style is a way to make art more accessible to a wider audience.
One of the key aspects of my practice is questioning hierarchies within the art world. By choosing a childlike style, I’m challenging the idea that only refined, technically skilled works are valuable. Instead, I’m highlighting that artistic value lies in the ideas, emotions, and dialogue that the work generates.
The simplicity and playful nature of these drawings highlight themes of innocence and exploration. In the context of my journey to Auchingarrich Park, this approach allowed me to convey a sense of wonder and curiosity, encouraging viewers to reflect on their own memories of childhood and play.
As I continue to explore this style, I look forward to seeing the book in the exhibition and observing how people will interact with it next week.
Again, Al-Mayida! The dining table is part of the DRUDENHAUS collective’s exhibition at Bridewell Gallery and Studios, Liverpool. This event includes a fundraiser for Medical Aid for Palestinians, adding a meaningful purpose to the show.
For this iteration, the work was set on a larger table than planned, shifting its dynamic. Though designed for two people, with fewer plates, and the tablecloth still bears marks left behind from previous exhibitions. The exhibition features both new and familiar artists, creating an interesting mix of perspectives.
Every curator brings a unique vision. The DRUDENHAUS collective’s decision to give the table more room to breathe was a contrast to previous presentations of Al-Mayida. This shift made me realise how flexible the work is, how it can adapt to different environments and be shaped by different interpretations.
One of the most meaningful aspects of this exhibition is its purpose as a fundraiser for Medical Aid for Palestinians. This adds weight and significance to the show. The dinner table, a place traditionally associated with hospitality, care, and conversation, becomes a symbol of solidarity. It reminds me that art doesn’t exist in isolation, it has the power to engage with real-world issues and bring people together in support of urgent causes.
Our last session of Art for Earth’s Sake Peer Learning, was a powerful experience exploring the intersection of creativity, sustainability, and community action.
Key Highlights:
1- Leading by Example: We discussed how artists can practise sustainably, acting as role models for others by reducing their carbon footprint and promoting eco-friendly approaches. This includes minimising the use of fossil fuels and exploring innovative tools such as digital carbon offset initiatives like Ecology.
2- Art as a Vehicle for Transition: Art has the power to shape people’s decisions and inspire social and environmental change. We explored how slow, mindful processes can create space for reflection and dialogue about the future we want to build.
3- The Role of Heart and Mind: It’s not just about being an artist but about raising awareness and fostering learning. We emphasised the importance of balancing rational thinking with heartfelt creativity to address environmental.
We took inspiration from artists such as Rebecca Chesney and Anthony Hall, and projects like the Soil Exhibition in Somerset. Additionally, ideas from thinkers like Stephen Covey’s “Three Spheres of Influence” helped us focus on what we can control, what we can influence, and what we need to let go of as individuals and as a collective.
We are encouraged to continue organising events, engaging the community, and taking part in initiatives like the Engage. By working together, we can use art as a catalyst for positive change in the world.
Stephen Covey’s concept of the Three Spheres of Influence is a framework that helps individuals focus their energy on what they can truly affect. This idea is derived from his book, The 7 Habits of Highly Effective People. The three spheres, also known as the Circles of Concern, Influence, and Control, are a way to prioritise actions and efforts effectively. The Three Spheres Explained:
1. Circle of Concern:
This represents everything you care about, including external issues such as climate change, world events, and things you have no direct control over. While it’s important to be aware of these issues, focusing too much energy here can lead to feelings of helplessness.
2. Circle of Influence:
This sphere includes aspects you can influence, such as your local community, workplace, and people around you. By focusing efforts here, you can make a meaningful impact even if you can’t solve global issues. This is where actions like raising awareness, inspiring others, and leading by example can make a difference.
3. Circle of Control:
This is the smallest sphere, encompassing only what you can directly control, your own actions, decisions, mindset, and responses. By focusing on this sphere, you ensure that your efforts are grounded in what you can actually change.
By prioritising your focus on the Circle of Control and the Circle of Influence rather than the Circle of Concern, you can channel your energy more productively, avoid burnout, and create more positive impact. This approach is particularly valuable in projects related to sustainability and social change, where large-scale problems can feel overwhelming.
In the context of “Art for Earth’s Sake” understanding these spheres can help artists and activists focus on what they can do, such as creating art that inspires action, practising sustainability in their own work, and building local community initiatives that promote change.
Today, I led a session at Bootle Library with my usual cultural group of ladies, joined by my colleagues from Rule of Threes, a representative from Liverpool Biennial, and artists from Darch Collective. It was a special gathering, as we’ll be contributing to their work for Liverpool Biennial: Bedrock 2025.
The session had a wonderful turnout, and I received 15 more letters for The Moon Letters project. I’m so grateful to everyone who has taken the time to contribute, and I can’t wait for the moment when I finally hold the book in my hands.
There’s something deeply personal about letters. I find myself attached to each one, treating them as precious objects. They arrive in different ways: through messages, emails, and in person. Each carrying unique thoughts, emotions, and perspectives. People respond in their own way, and I appreciate every word, every feeling that has been shared.
This project is becoming more than just a collection of letters, and I’m excited to see where it leads and to share these stories with a wider audience.
Karema 