Dalia Al-Nasser

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A mesh between moving image and material practice underscore a mapping, witnessing, sensing and ethnographic practice through which the governing forces along this territory would unfold. Fabrics are dyed using natural dyes extracted from the river’s ecology, using the river itself to abstract the fabrics, shown alongside a filmwork following the drive towards the Wazzani River. The alterations that are now embedded in the evolving process of the land and are exacted on it by the different outwardly interferences, position the environment in an elsewhere realm, in between opposing spaces, occupied by military surveillance and concrete animosity. It becomes an absent witness, or a witness of absence, around which culminates secrecy.

A mesh between moving image and material practice underscore a mapping, witnessing, sensing and ethnographic practice through which the governing forces along this territory would unfold. Fabrics are dyed using natural dyes extracted from the river’s ecology, using the river itself to abstract the fabrics, shown alongside a filmwork following the drive towards the Wazzani River. The alterations that are now embedded in the evolving process of the land and are exacted on it by the different outwardly interferences, position the environment in an elsewhere realm, in between opposing spaces, occupied by military surveillance and concrete animosity. It becomes an absent witness, or a witness of absence, around which culminates secrecy.