Interception is a daily incident, whether on the road, at the office, in discussions, in wars etc.
‘It is to stop/redirect/seize on the way from one place to another; prevent from arriving or proceeding’.
The nature of the clay material, the production, the narrative and personal content is intended to create a commentary on our present condition. This exhibition contains 3 main ideas:
1. The Children and Water/ direct interception.
These are sculptures of children playing with water weapons. The trajectory of the water is being intercepted by the opponent’s trajectory.
2. Islamic Battered Helmets/ cultural interception.
This is a series of thirty or more wheel thrown, battered and hollowed helmets. A depiction of our worn out Islamic ‘armies’/ communities marching towards ‘change’ that are intercepted at all times by culture, beliefs, politics.
3. Ghostly Visions Of Police / interceptors.
A series of helmets with negative imprints of heads producing positive sculptures. The light is crucially important as it produces an optical illusion of a 3 dimensional face moving when the spectator moves.
The work is far more than just the idea making intricate shapes that either channels water, or produces ghostly visions, it is a depiction of the present times
Clay or ceramics as a material by itself does not give enough room for exploration.
Samar has always had the urge to add different materials to it, starting with the use of basalt rocks, then video, then bronze casting, now water, polishing and light.
(Info and images provided by Agial Art Gallery)