Diana-Al-Hadid experiments with material in such a way, that she floats between the realms of sculpture and painting.
Her processes fluctuate, yet are continuously messy, moving, dripping.
She’s fascinated with suspension, size, liquidation and decay, and has said that the reason for making such large pieces are so she is able to “navigate through them.” Navigation is such a wonderful way to put it, because her intricate lines and massive scale give you this strange sense of bewilderment.
Born originally in Syria, and not always familiar with biblical stories, Diana takes a part of “Western” culture and makes it her own. She allows mainly Northern Renaissance paintings to be her inspiration. There are specific Christian images that can be recognized in a few of her paintings and sculptures, but she tends to stray away from the idea that her pieces reflect certain interpretations. Though they may share the same ethereal characteristics of Mannerist works, for example, her work is very ambiguous.
Architecture appears to be a big part of her life, and though at times her form seems less than practical, Her larger, more three dimensional pieces are heavily supported with hidden steel bars and complex framing. She is amused with giving her sculptures the appearance of instability, “Unfortunately, sculpture has to obey gravity, I have this painting envy of Northern Renaissance and Mannerist paintings. They are given more liberties with illusion and space, while I’m dealing with actual gravity. “To get a sculpture to get off the floor, that’s the first way to rebel, that’s the main event. “I work pretty hard trying to have my sculptures not to fall. I don’t want to burden the viewer with mechanical details, but instead make something that seems improbable. I have enough reality in my life, and not that I live in such a fantasy world, I just want to weigh in on the other side “.
“I’m married to an architect, that’s why I realize I’d be a terrible one, but in terms of drawing out space or building structures, or thinking of counterweights and triangles, I’m still a builder at heart”.
“Al-Hadid creates her works by “painting” in polymer gypsum, fiberglass and plaster, forming a loose image in trails and drips over a wall-like support. She then pries the image off the backing, resulting in a stiff, lace-like scrim.”
These “fossils” are then aligned and suspended, or given frames. Her process is incredibly physical. Layers are continuously added and taken away. She is deliberately always cutting, pasting, warping, and transforming her work. There is a constant state of change, this perpetual movement in her world of celestial beauty. Religion is somewhat an allegory for this layering process. As people form religions in various cultures, she allows herself full range of the exploration of these spiritual images.
“Exquisite Mass.” Cultured Magazine – June/July 2015. N.p., n.d. Web. 10 Nov. 2015.
“Diana Al-Hadid’s Suspended Reality.” ART21 New York Close Up. N.p., n.d. Web. 10 Nov. 2015.
“Ground and Figures.” Exhibitions. N.p., n.d. Web. 10 Nov. 2015.
“Such Beautiful Decay.” Los Angeles Times. Los Angeles Times, n.d. Web. 10 Nov. 2015.