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| Basmah Flemban behind one of her artworks. Basmah Flemban © |
“Oh wow… you know the great British photographer Alan Watts once said, “trying to define yourself is like trying to bite your own teeth!” And so our interview starts with a bashful
and highly talented Basmah Flemban.
and highly talented Basmah Flemban.
At only 19 years old, we can’t blame the budding Saudi artist for hesitating to properly define herself. But she is sure of one thing: her art aims to revive and strengthen significant philosophies in Islamic art and to couple that with what people relate to nowadays. Flemban, who calls the space between her closet and bed her studio, squirms and feels uncomfortable attributing her artwork to herself. “I don’t feel like I own the artworks that I’ve created. I just feel I know more about it than other people do but in the end each artwork
has its own individuality,” she says.
At such a young age, Flemban saw one of her artworks, Jeem, placed at the British Museum this year as a sideshow to their highly anticipated exhibition Hajj: Journey to the Heart of Islam. Jeem in Arabic represents the first letter for Janna (heaven) and Jaheem (hell). Working with stencils, an octangular piece of wood, and the concept of creating complexity and contrast, Flemban used the Kufic typeface to juxtapose and overlap these contrasting concepts.
We sat down with the artist to discover more about her, her art, and her experience thus far.
You’re a graphic designer by training. Was there ever a transition between your role as a graphic designer and your role as an artist?
I can’t really separate graphic design from art in my life. Both strongly support one another. My interest in art helps me in conceptualizing my designs and being a designer taught me quality in art execution, planning the execution phases and researching skills. I visualize what I want to say, so it’s either through art or design.
I can’t really separate graphic design from art in my life. Both strongly support one another. My interest in art helps me in conceptualizing my designs and being a designer taught me quality in art execution, planning the execution phases and researching skills. I visualize what I want to say, so it’s either through art or design.
You’ve emphasized the importance of “conceptual” art. Can you explain further?
Throughout history, art was usually used for religious and political institutions, to influence the people in a way that pleases the upper classes. That’s why until now the art scene is controlled by the bourgeois class in society; it’s like a monopoly where most of the time the concept or even the influence of the art piece is not as important as its size, price, who made it and how “established” he/she is by their capitalist standards.
New media empowered the other side of society and unmasked this shallow mentality, showing its ugly face. Being a conceptual artist doesn’t only mean you’re doing art for change’s sake, but it also means you’re against the negative morals of that particular art scene.
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| Basmah Flemban busy at work. Basmah Flemban © |
Your art gravitates towards Islamic and arabesque patterns;what has been a major influence on your work?
Islamic art influence my work not only visually but also in terms of using those visuals to convey a message. Everything has a meaning and purpose; every element in an ornament
is a symbol for something that makes up part of a bigger concept. That really inspires me not just in my work but also within myself. I try my best to offer the viewer an experience with the piece that is more than just looking at it, but interacting with it at an intellectual, spiritual and maybe even physical level.
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