I. am obsessed with reality and photography suits my desires in thai: it allows me to explore this reality. I believe that my work reflects the daily life that :l live, the people I come across, how they walk and move. When I photograph these subjects I cry to . impose my reality on the actual scene. Afterwards, I try to imagine their feelings and dreams, and to reveal them through my own additions. Sometimes I focus on a certain person or even^change the whole setting by adding certain lines or colors. It is'an attempt to delineate new .icons in which the-heroes are ordinary people and no longer the saints and angels. Right now I am elaborating upon some pictures of a brother and his sister. Actually, they are of my brother and me, standing next to each other. The photographs are actually qnjte old and many years have passed since they were taken. What I am attempting co do is to transmit the photos from the past to the future by overlaying my different styles and additions. I am moving time even more forward: the lines, colors, and ad dippings that I superimpose on the photographs are like the symbols that fill my private dreams. The old photos are like broken dialogues. They usually seem soulless. In our culture, photos have a lot to do with time and days past and what is gone, but I give them a kind of new continuing life and duration.
Sabah Nairn was born in 1967 in Cairo, where she lives and works. Photo Cradit: Lia Rumma, Milan and Naples.
Sabah Nairn (Ar/tferf, 2002, mixed media on paper, 141 x 96 cm. Sabah Nairn Untitlsd, 20B2, mixed media An paper, 141 x 96 cm.