Anat Ebgi, Los Angeles, (FR18)
Drawing from his background as a Palestinian-Polish American, Nassar’s hand-embroidered textile pieces address the intersection of language, ethnicity and heritage. Adapting traditional Palestinian patterns, Nassar merges the geographical and the decorative.
Nassar’s work expands upon the political history behind Palestinian craft, reclaiming both locality and technique through the medium’s ability to communicate and build community. Nassar presents a suite of landscape works, using symbolic patterns to reference the embroidery of bereaved Palestinian women, whom he met while on residency in Israel.
Within the installation is a 3-sided platform which references the domestic Arabic majlis, which means “a place of sitting.” Upon the platform are pillows embroidered by the women; while the pillows’ exact patterns translated into the landscape works that hang above the space. Using colored thread, Nassar transforms the flat symbols into landscapes, representing an idealization of an unfamiliar homeland. The austere environment focuses the viewer upon the delicate handwork and highlights the absence of people who would normally occupy the sitting space.
This installation is a dialogue between Nassar’s own embroidery and that of the women of Palestine. As a descendant of the Palestinian diaspora, the landscapes which Nassar works upon the pillow patterns are meditations on alienation and displacement.
Jordan Nassar (b. 1985, New York) lives and works in New York. Recent solo exhibitions include “Dunya”, Anat Ebgi, Los Angeles (2017); “Jaffa: New Works”, Artport Tel Aviv (2017) “No Secret with Mika Horibuchi”, LVL3 Gallery, Chicago (2016) and “And a Night, Evelyn Yard”, London (2015). He was recently included in group exhibitions at the Kotonah Museum of Art, the Laband University Art Gallery, The Abrons Art Center, and Supportico Lopez, Berlin.