Art Dubai 2024: Art Dubai 2024
Booth C-13
https://www.artdubai.ae/
HUNITI GOLDOX
TERRA TOPO
In response to a future request, a series of aquatic fossil records taking on the form of aluminum reliefs were created. Within them, traces of violence on land and water surfaces are exposed—like scars on Earth's skin. These fossilized panels, sent to the future, reveal territorial histories and preserve environmental knowledge, bearing imprints of human interventions, contamination and manipulation. They convey more-than-human resistance against today’s extractive reality. What might the future feel like from the perspective of an algae in the depths of an artificial post-mining lake? Or for an aquatic worm, a relic from the Cambrian period, nestled within the stones of the red desert? Or for an E. coli on a contaminated riverbank?
TERRA TOPO
In response to a future request, a series of aquatic fossil records taking on the form of aluminum reliefs were created. Within them, traces of violence on land and water surfaces are exposed—like scars on Earth's skin. These fossilized panels, sent to the future, reveal territorial histories and preserve environmental knowledge, bearing imprints of human interventions, contamination and manipulation. They convey more-than-human resistance against today’s extractive reality. What might the future feel like from the perspective of an algae in the depths of an artificial post-mining lake? Or for an aquatic worm, a relic from the Cambrian period, nestled within the stones of the red desert? Or for an E. coli on a contaminated riverbank?
Malik Thomas
Core to the material explorations is raw silk and cotton, which form the base layers of these paintings in hand dyed in Maramiah (sage) a readily available medicinal herb in Amman, Jordan, where Thomas produced these works. Painterly media in the form of linseed-soaked charcoal and pastel is then gesturally applied to the canvases in the form of restricted Arabesque lines which layer up to fleshier strokes of oil paint to form the skeletal basis for the figural narrative. Paying as much attention to the textural application of paint as the composition of the works, it is through the range of marks that the artist creates works which allow him to meditate on his own physical form and memories of relationships within urban and rural settings.
Core to the material explorations is raw silk and cotton, which form the base layers of these paintings in hand dyed in Maramiah (sage) a readily available medicinal herb in Amman, Jordan, where Thomas produced these works. Painterly media in the form of linseed-soaked charcoal and pastel is then gesturally applied to the canvases in the form of restricted Arabesque lines which layer up to fleshier strokes of oil paint to form the skeletal basis for the figural narrative. Paying as much attention to the textural application of paint as the composition of the works, it is through the range of marks that the artist creates works which allow him to meditate on his own physical form and memories of relationships within urban and rural settings.