Referencing the Hejaz Railway, the scene recalls elements of the unrestricted movement and interconnectedness that existed within our region prior to the current colonial framework, in an era devoid of borders and the historical atrocities associated with them: displacement, genocide, settler colonialism, and proxy wars, all of which have destabilized our physical homes.
Centering on the sacred and intimate practice of sharing a meal, the figures in the painting joyously engage in a space filled with regional excellence; from the stack of records to the images on the walls, the space reflects a cultural landscape that could have had the opportunity to exist and thrive without Western violence.
In challenging the imperial notion of belonging to the land by means of theft, ownership, and borders, Approaching Haifa emphasises elements of belonging, unity, freedom, and joy.
Noor Bseiso is a Palestinian-Jordanian visual artist primarily working with acrylic on canvas. Noor draws inspiration from her background as an art director in film, blending elements of representation and abstraction, as well as 2D and 3D elements resulting in chaotic playful large-scale unframed scenes that spill into the floor. Her work delves into political and social themes within the context of the SWANA region, addressing subjects such as imperialism, patriarchy, and capitalism.