Details
Hayv Kahraman (Iraqi, b. 1981)
The Interpreter
signed with the artist's monogram (upper left)
oil on wood, in two parts
left: 48 x 48in. (121.9 x 121.9cm.);
right: 48 x 46in. (121.9 x 116.8cm.);
overall: 48 x 94in. (121.9 x 238.7cm.)
Painted in 2016
Provenance
Private Collection.
Anon. sale, Christie's Dubai, 16 March 2016, lot 39.
Acquired at the above sale by the present owner.
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Lot Essay

Hayv Kahraman is a leading contemporary artist from the Middle East who draws inspiration from many feminist ideologies. By focusing specifically on the female identity formed internally and externally, Kahraman explores women overburdened by their own culture from the context of her homeland of Iraq. The artist gracefully narrates stories through beautifully poetic paintings, portraying her protagonists with a technique that merges past and present; painterly and cultural traditions that hearken to a range of influences - from Persian and Chinese miniatures, Japanese prints and the Renaissance, to Art Nouveau’s symbolism and European surrealism. Borrowing from the East and the West, the artist has created a unique and widely admired artistic style.

In the present work, a seemingly decorative and lyrical composition alludes to a wider reality in which the body takes centre stage. Its structure as a diptych and the mirrored forms of Kahraman’s subject conceives dualities with multi-layered significance - conceptual contrasts between illusion and reality, peace and violence, joy and pain. The ideas of translation and journey are implied by the work’s title, The Interpreter, a role enacted when a person migrates between two or more languages and cultures. And the movement from one place into a different context, these are themes central to Kahraman’s own preoccupations as part of the Iraqi diaspora, having fled Iraq at the age of eleven following the first Gulf War.

Kahraman’s highly polished painting technique is emphasised by the juxtaposition of wooden board and painted patterns, which enhance a sense of spatial illusion. The figures here are mirrored, intertwined at the arm to their reflected selves, with inversions of patterned or plain ground in directly opposite areas. The notion of attachment to familiar space and dislocation is played with and Kahraman subtly questions the role occupied by women in societies worldwide. As if suspended in time, the figures float and yet support and are empowered by each other. While the underlying issues of gender and diaspora remain as catalysts in her work, Kahraman explores the body as a cultural construct and rethinks the bond between body and space. Her style is infused with rich cultural inheritance and her observation of the contemporary world.

Kahraman’s work is held in numerous international collections, including the Barjeel Art Foundation, UAE; Mathaf: Arab Museum of Modern Art, Qatar; the British Museum, UK; San Diego Museum of Art, USA; The Rubell Family Collection, Miami, USA and the Birmingham Museum of Art, USA.

Recent solo exhibitions include The Mosaic Rooms, UK, 2022; Hayv Kahraman: Superfluous Bodies, Honolulu Museum of Art, Hawaii, USA, 2019; Hayv Kahraman: Displaced Choreographies, De La Warr Pavilion, Bexhill-on-Sea, UK, 2019, and group exhibitions include MASS Moca, Massachusetts, USA, 2019; the Institute du Monde Arabe, Paris, 2017, 2012 and the Thessaloniki Biennial 5, Greece, 2015. In 2011, the artist was shortlisted for the Jameel Prize at the Victoria& Albert Museum and has received the “Excellence in Cultural Creativity” award from the Global Thinkers Forum.
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Modern and Contemporary Middle Eastern Art, Part II
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