Heba Amin

Visually, I began to address the city as my focal point. In many ways I was still addressing some of the same issues as my bedouin series but with a different approach. I began to morph the figures and incorporated them as pattern in the same way I did with the urban infrastructure in the Bedouin Paintings. With this role reversal, and much more interesting narrative began to surface. The pieces presented the figures in masses and croweds void of identity; they began to relay an idea about the affects of urban space on loss of identity. This was pivotal for me as I began to explore ideas of human integration and participation in a city like Cairo where the layout of the city is a hindrance to daily living as opposed to an aid in daily navigation. I began to think about the fact that Cairo presents a structure where people are essentially living on top of one-another, invading eachother's space. These works use encaustics as a way to layer imagery of city and figure without them integrating; the wax layers the imagery on top of one another in separate layers.



Trespass Series