2. Idea Development
SolarFast
This is where I explore the idea of physical interaction with the design creation process. For the first printmaking experiment at home I opted for the SolarFast kit. This was due to difficulties in securing printmaking (silk screen) supplies at the time due to high demand during Covid-19.
This was a primitive experiment with many limitations, such as only three available colours: orange, violet, and blue. Despite all the challenges and limitations, this experiment reveals that a home is a place full of life complexities, saturated with personal feelings, cultural meanings, and notions of creativity.
SolarFast dyes are used to create permanent photographs and shadow prints on paper and fabric. Simply put, it involves creating a negative film, applying SolarFast to the surface, and exposing it to sunlight for 10–20 minutes until the colours appear. By placing objects on the coated surface prior to exposing the film and paper, anything that casts a shadow produces a design.
Selected results of the SolarFast experiments are presented below.
Collage Art
Along with my screenprint experiments, and due to the limited resources during Covid-19, I created a collage from all of the previous outcomes. This was a combination of SolarFast, screenprinting, computer-based design, and the participants’ photographs and photo stories.
I experimented with multiple techniques, such as over-printing and over-scanning, using an inkjet printer at home. Under the restrictions of the computer-based design, the limitations of SolarFast and the unfinished results of the screen printing, I attempted to create images that might be read for their multiple meanings.
I was looking for interaction between the authorities’ approach to building images—which is restricted and selective—and the fluidity and complexity of identity. These experiments may not have been successful in terms of the end result, however, they were very helpful and insightful in shaping my studio practice.
Typography Experiment
Arabic calligraphy is strongly connected to the Islamic culture as it is used in the Holy Quran to communicate specific messages or common phrases. Its embodied in everyday life of Islamic culture for example mosque and palaces, even home decorated by calligraphy.
While gathering participants photographs and categorised them, I discovered that Arabic calligraphy was prominent in their photographs. For this reason, developing typography for the final artwork became a part of my studio practice.
I examined the possibility of applying the Arabic calligraphy aesthetic to selected captions from the participants photo stories.
