Photo © 2017 CHOI+SHINE
Tahira Kathleen Kobreek
Sharry Lee Gregory
Micaya Vance Clymer
Jin Choi and Thomas Shine
Shaw Welding (Boston)
Assembly Crew (Boston)
Installation Crew (Sharjah)
Al Majaz Amphitheater Stage Crew
Special Thanks to
His Highness Sheikh Dr. Sultan Bin Mohammed Al Qasimi
His Highness Sheikh Sultan bin Ahmed al Qasimi
Sharjah Islamic Arts Festival High Committee
Sharjah Art Museum
INTERACTION WITH THE CITY, PEOPLE AND NATURE
Each element of this project takes an abstract geometric form or common architectural form that can be found in both the east and the west. These elements are arranged in a way that the composition’s axial view allows a visual interpretation of an Islamic mosque. When the viewer’s position is off the axis, the composition loses its legible visual order and the elements become seemingly unrelated. The varying views of the composition emphasize individual elements that are independent, complete and can stand alone, but also offer an encounter of these elements forming a harmonious and sacred whole as a single entity. This aspect of the project symbolizes the absolute superiority and singularity.
The Flying Mosque lace is crocheted in geometric shapes which uses a cross-culturally universal design language, which is repeated to compose patterns that are used both in the east and the west. However, the use of geometric patterns is exclusive and absolute in this project similar to Islamic architecture, whereas minimalistic approach to the forms and the abstraction of the surface treatment are taken from contemporary western design. This project strives to bridge contemporary and tradition, and diffuse the boundary between the east and west.
Elongated shadows of the floating lace forms create ethereal atmosphere often found in Surrealists’ paintings.
“Qubba”, looking up. One of the common dollie patterns is used in three dimensions to simulate the stalactite vaults (Muqarnas).
The geometrical pattern in this project is very much connected to the Islamic art, which encourages spiritual contemplation. The expression embodied in its repetitive, orderly and cohesive pattern signifies infinity and its quiet impact produces a meditative feeling in the viewers leading them into the depth of abstraction. As Dobree (quoted in Briggs, 1924, p.175) explained the impact of Arabesque art, this project “strives, not to concentrate the attention upon any definite object, but to diffuse them so that the viewers can bemuse themselves in the maze of regular patterning that confronts them, and free their minds from all connection with bodily and earthly matters.”
Viewers in glowing lace become “staged’ whereas the lights from the surrounding buildings add to the theatrical effect.
Juxtaposed lace forms are framed within the arch wall, “Qibla” which faces Mecca.
Geometric patterns of the lace overlap to create visual layers with increasing complexity.
With the wind, the sculptural forms sway and rotate, with their kinetic patterns of shadows. The repetitive movement of the floating forms is rhythmic and calming which contributes to the poetic nature of the work.
If you would like to participate
in our future crochet projects,
please send us an email to:
skim [at] choishine.com