Revisited #9 2008

Curator: Lalla Essaydi’s photograph, "Revisited #9," created in 2008, weaves together photography, painting, and textile elements into something really special. Editor: The first word that jumps to mind is "hypnotic." It's like she's part of the backdrop, her skin adorned in what looks like henna or some similar writing. Are those actually henna patterns on her skin, mimicking the calligraphy surrounding her? Curator: Exactly! Essaydi is known for using henna to write on the bodies of her subjects and on the fabrics she employs. The calligraphy, however, isn't tied to conventional readings but explores themes of cultural inscription and the gaze, particularly in the context of Islamic art and Orientalist depictions of women. It challenges the traditions but engages with their symbolism, and looks into power structures. Editor: So the woman becomes a canvas and a text? It’s potent. She’s holding a delicate object; does that hold any particular significance in relation to the surrounding script? Curator: It emphasizes the layers of symbolism. It hints to the opulence often linked to representations of women in Orientalist painting, whilst, at the same time, giving her agency, taking control. The patterns disrupt the viewer's own act of gazing, it is impossible not to engage critically. Editor: There is an undeniably powerful dialogue going on between the art-historical context and the contemporary interpretation. You are immediately compelled to consider identity. Curator: What I find truly moving is the sheer elegance with which Essaydi tackles the complex issues. It's not preachy, not lecturing; rather, it is an invitation to explore, to question, to feel. It whispers when other artists might scream, which gives the work staying power, you know? Editor: Definitely. It makes you linger. Curator: For me, “Revisited #9” operates as a really fantastic demonstration of just how intimately interlinked identity, space, and history actually are, but how that relationship is always changing.