We are all born as artists;

born with a creative force and the ability to imagine the impossible and the sublime. Along the way, some step off the artist’s path but it remains within us, an enduring ember of potential. 

No matter where my own path has taken me, the journey has always led home - to my land, culture, origins, heritage... to my community. This is where I find the truest expression of myself and my art.  

In both my artistic practice and thinking process, I gravitate towards the themes of memory and time, exploring their polarities and the infinite space of mystery between them. A lifelong diarist, my journals have been in themselves part of my creative process; a dwelling place for my ideas, experiments, observations and interactions. These evolve together through time as my own perspective as an artist continues to shift.

As I continue on this journey, moving enthusiastically through unknown places, I invite you to join me through a series of unfolding patterns in thinking and in making.

Wind the Unwinding Path (2020)

18 September 2021

Embedded in this array of yarn balls is a collection of memories, a vibrant history, and an embodied process of making and belonging. In the last two years, I’ve observed Bedouin women wind yarns by hand, gently, to create dense yarn balls. The sense of ball winding is part of a global textile tradition that does not rely on complex tools apart from the woman’s body to manage the yarn. The winding and unwinding process is an art in itself – a system that relies on a set of rules practiced by all women. I am constantly reminded not to wind the yarn too tightly “because it will affect the tension of the yarn when creating a cloth.”

Adjacent to the process of making, is the winding and unwinding I am experiencing on the individual level. How is my overall state of being woven, or indeed unraveled, through cycles of winding and unwinding? How does an ancient practice so deeply embedded in a community manifest itself in a cerebral landscape?

Does the past really pass?

27 March 2021

The three-dimensional patterned studies that I created during my sophomore year at RISD (1998) have a ghostly quality that still haunts me. This simple geometrical configuration transforms with an altering light, casting shadows that convey a sense of time. I am reminded that it is light that helps architecture achieve it’s true purpose.

Light is the spirit of architecture.

Light is Architecture.

Morphing geometric patterns changes the appearance of this simple geometric tessellation.
Play?

Weaving a Tree: a self-structuring Japanese Christmas tree (2018)

25 December 2019

The traditional Christmas tree, an evergreen conifer adorned with lights, ornaments and crowned with a star, symbolizes the birth of Christ as the Light of the World. In attempting to rearticulate this classic icon- recognized and revered the world over- within a Japanese aesthetic, I was inspired by the notion that its constituent elements could somehow be integrated within a cohesive whole. Rooted in a manually driven process of geometric bead work, the self-structuring design manifested as ornament and light became articulated through structural force lines, and leaves interpreted as planar surface. 

Utilizing bamboo tubes, woven with rope and strengthened with paper – all sustainable materials local to the region- the tree is envisaged as a communal endeavor; where people can come together during the festive season to collaborate and communicate.

The woven Christmas tree infuses Japanese and Arab sensibilities built from bamboo by the community.

Making Models (Part 1): a fictional conversation between the maker and another

9 December 2019


OTHER: What is this? What are you doing?

MAKER: (Sitting at a desk, head down, hands tinkering) I’m making a model!

OTHER: A model of what?

MAKER: (Head down, complete focus, hands still tinkering, silence for 5 sec.) I have a vision of something that’s not yet in focus. And so I’m making…so it reveals itself…so I can see!

OTHER: What’s guiding you?

MAKER: My intuition

OTHER: What is intuition?

MAKER: A voice inside…My release…

My First Miniature

2 October 2019

I remember a moment in time, when a charming bird appeared, arousing my curiosity as a child. It was sitting inside a display unit at an international bazaar in Amman, so small, yet so large with its elegant pose. This bird is still around and is the first miniature object I ever collected and kept.

Sometimes I ponder the question of why I collect certain objects. Today, I see how collecting has shaped the multitudes I contain within and without me.

Photography: © Ayla Hibri 2019