Emy Kat
Philby Grand Hall I , 2015
Pigment print in plexi- 3 dimensional photographic sculpture
120 x 120 cm (47 3/16 x 47 3/16 in.)
From the Mental series, Edition of 3
EMY0071
Emy Kat
Kitchen, 2014
C Print
234 x 180 cm (92 1/8 x 70 13/16 in.)
From the Spaces series, Edition of 4
EMY0033
Emy Kat
Walls of Jeddah, 2013
Lambda Print
100 x 150 cm (39 5/16 x 59 in.)
From the Mental Space series, Edition of 5
EMY0074
Emy Kat
Faith of Jeddah, 2013
Lambda Print
100 x 150 cm (39 5/16 x 59 in.)
From the Mental series, Edition of 5
EMY0075
Emy Kat
Lethal Injection, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0073
Emy Kat
Philby's Window, 2015
Duratrans Print lightbox
140 x 100 cm (55 1/16 x 39 5/16 in.)
From the Intricacies series, Edition of 3
EMY0072
Emy Kat
Philby No II, 2015
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0070
Emy Kat
Philby No 1, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0069
Emy Kat
Love Story III, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0068
Emy Kat
King AZ Majless II, 2013
C Print
180 x 234 cm (70 13/16 x 92 1/8 in.)
From the Spaces series, Edition of 4
EMY0052
Emy Kat
Indoors II, 2014
Lambda Print
100 x 165 cm (39 5/16 x 64 15/16 in.)
From the Mental Spaces series, Edition of 5
EMY0056
Emy Kat
Bedroom II, 2015
C Print
154 x 200 cm (60 5/8 x 78 11/16 in.)
From the Spaces series, Edition of 4
EMY0059
Emy Kat
Bedroom III, 2014
C Print
200 x 159 cm (78 11/16 x 62 9/16 in.)
From the Spaces series, Edition of 4
EMY0060
Emy Kat
Philby's Patio, 2015
C Print
150 x 200 cm (59 x 78 11/16 in.)
From the Spaces series, Edition of 4
EMY0061
Emy Kat
Room Switch II, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0062
Emy Kat
Electric Meters, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0063
Emy Kat
Medical Cabinet, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0065
Emy Kat
Beam, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0057
Emy Kat
Beam II, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0058
Emy Kat
Bon Bon, 2015
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Bloc series, Edition of 6
EMY0076
Emy Kat
Bon Bon No I, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0077
Emy Kat
Bon Bon No 2, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0078
Emy Kat
Bon Bon No 3, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0079
Emy Kat
Bon Bon No 4, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0080
Emy Kat
Bon Bon No 5, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0081
Emy Kat
Philby Grand Hall I , 2015
Pigment print in plexi- 3 dimensional photographic sculpture
120 x 120 cm (47 3/16 x 47 3/16 in.)
From the Mental series, Edition of 3
EMY0071
Emy Kat
Kitchen, 2014
C Print
234 x 180 cm (92 1/8 x 70 13/16 in.)
From the Spaces series, Edition of 4
EMY0033
Emy Kat
Walls of Jeddah, 2013
Lambda Print
100 x 150 cm (39 5/16 x 59 in.)
From the Mental Space series, Edition of 5
EMY0074
Emy Kat
Faith of Jeddah, 2013
Lambda Print
100 x 150 cm (39 5/16 x 59 in.)
From the Mental series, Edition of 5
EMY0075
Emy Kat
Lethal Injection, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0073
Emy Kat
Philby's Window, 2015
Duratrans Print lightbox
140 x 100 cm (55 1/16 x 39 5/16 in.)
From the Intricacies series, Edition of 3
EMY0072
Emy Kat
Philby No II, 2015
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0070
Emy Kat
Philby No 1, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0069
Emy Kat
Love Story III, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0068
Emy Kat
King AZ Majless II, 2013
C Print
180 x 234 cm (70 13/16 x 92 1/8 in.)
From the Spaces series, Edition of 4
EMY0052
Emy Kat
Indoors II, 2014
Lambda Print
100 x 165 cm (39 5/16 x 64 15/16 in.)
From the Mental Spaces series, Edition of 5
EMY0056
Emy Kat
Bedroom II, 2015
C Print
154 x 200 cm (60 5/8 x 78 11/16 in.)
From the Spaces series, Edition of 4
EMY0059
Emy Kat
Bedroom III, 2014
C Print
200 x 159 cm (78 11/16 x 62 9/16 in.)
From the Spaces series, Edition of 4
EMY0060
Emy Kat
Philby's Patio, 2015
C Print
150 x 200 cm (59 x 78 11/16 in.)
From the Spaces series, Edition of 4
EMY0061
Emy Kat
Room Switch II, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0062
Emy Kat
Electric Meters, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0063
Emy Kat
Medical Cabinet, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0065
Emy Kat
Beam, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0057
Emy Kat
Beam II, 2013
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Intricacies series, Edition of 6
EMY0058
Emy Kat
Bon Bon, 2015
Lambda Print
90 x 67 cm (35 3/8 x 26 3/8 in.)
From the Bloc series, Edition of 6
EMY0076
Emy Kat
Bon Bon No I, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0077
Emy Kat
Bon Bon No 2, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0078
Emy Kat
Bon Bon No 3, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0079
Emy Kat
Bon Bon No 4, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0080
Emy Kat
Bon Bon No 5, 2015
Lambda Print recto verso encased in Plexiglas with Plexiglas base engraved with artist signature 90x20 cm (each)
90 x 20 cm (35 3/8 x 7 13/16 in.)
From the Bloc series, Edition of 3
EMY0081
Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual. This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.
Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants. While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.
Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual. This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.
Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual. This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants. While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.
Artist: For Mental Spaces, I did a type of digital Collage to capture various spaces in the old city and to connect them together in one image, giving the viewer the sense of a 360 degree view and offering them a chance to experience the space from multiple angles in one gaze. This technique allows me to cover several dimensions of a space and to effectively sum up all the facts into a single visual. This resulting overwhelming bombardment is, in fact, deliberates and is meant to convey a feeling of urgency; that we are in a race against time to salvage the remains of this glorious heritage before it crumbles into extinction.
Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants. While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.
Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants. While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.
Artist: For the Space series, I used a large format view camera. I constructed a series of visuals depicting the typical home, from different houses in the old city, for example, the kitchen of Baeshen the entrance of Jokhdar the bedroom of Jamjoom, amongst others. No artificial light was used; the images were taken at a certain time of the day best suited to preserve the integrity of each space. I wanted to retain the authenticity of the interiors and to invite the viewer into these personal spaces that were once very much lived-in and loved by the families whom the homes are named after. The images depict poignant details and the unique character of each space as a reflection of its previous inhabitants. While, there is inherent beauty in the decay, there is an equal sense of tragic abandonment.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
Artist: For the Intricacies series, I used macro photography. I adopted the technique in an attempt to reach closer to the truth, but the result I found was that by weaving these seemingly inconsequential or often overlooked elements into the narrative, I began to develop a more intimate and familiar relationship with the subject.
"The Ever Lasting Now” is a documentation, which aims to capture the beauty of a slowly disappearing heritage. While conveying the appearance of neglect, the message is one of hope, that despite the dilapidation, there is still beauty in abundance that needs care and looking after. ‘The Everlasting Now’ seeks to provoke questions such as ‘what happened to this heritage?’ ‘Why has it been neglected for so long?’ but most importantly, ‘what can be done to preserve it?’
The project blurs the lines between documentation and narrative. While the objective is to visually preserve the Hejaz heritage at this moment in time; in its present state of decay. The project goes beyond documentation with its multilayered approach to storytelling, in attempts to paint a fuller picture with conflicting emotions of sweet sensations, nostalgia, appreciation of beauty and sentiments that are tainted by sadness, anger, and anxiety.
More than anything, this project is an attempt to raise awareness and is a call to action. This heritage is a gift as well as a responsibility.
مقدمة بقلم الفنان
"الأبدي الآن" مشروع توثيقي يهدف إلى تخليد جمال إرثٍ يزول يوماً بعد يوم. ورغم أن رسالة المعرض هي إلقاء الضوء على عواقب الإهمال، إلا أنها في صميمها رسالة أمل مفادها أنه رغم انتشار الخراب إلا أن الجمال ما يزال وفيراً، ويحتاج فقط من يرعاه ويعتني به. يسعى معرض "الأبدي الآن" إلى طرح تساؤلات ملّحة مثل ’ماذا أصاب هذا التراث؟‘ ’ولماذا أُهمل طويلاً؟‘ لكن السؤال الأهم هو ’ماذا علينا أن نفعل للمحافظة عليه؟‘
يتداخل في هذا المشروع التوثيق مع السرد. ومع أن هدف التوثيق هو المحافظة البصرية على التراث الحجازي فوراً وقبل أن تسوء حاله أكثر، إلا أن المشروع يتجاوز حدود التوثيق من خلال منهجية سرد الحكاية المتعددة الطبقات، فيرسم صورة أكثر تكاملاً صورة زاخرة بالعواطف والأحاسيس المتضاربة. وها هي مشاعر الحزن والغضب والأسى تطل برأسها لتخضّب أحاسيس الحنين العذبة وتنغّص شفافية الجمال والعاطفة.
هدف المشروع المنشود هو بثّ الوعي والدعوة إلى العمل، فهذا التراث ما هو إلا هبة من الله ومسؤولية علينا جميعاً بذل الغالي والنفيس لحمايتها والحفاظ عليها.