Majd Abdel Hamid
There has been a constant fire for over a month, III, 2022
A manifest gesture in Majd Abdel Hamid’s artistic approach is perhaps the one he produces at the edge of visibility. This gesture, in the (double) sense of the term since it designates both an act that takes a stand, and a physical movement, that of his hands, is striking for being discrete and condensed. Since 2015, the artist has been embroidering squares, or almost squares, in white on a white background, in small format. (…) By activating both materiality and invisibility, Majd Abdel Hamid clearly designates one founding gesture of abstraction in painting made in 1918 by Kasimir Malevitch. He endorses this heritage with a craftsmanship that counts in the Palestinian tradition, “tying” together several iconoclasms: those of radical abstraction, and also the religious prohibitions against representing figures that in the Arab world partly explain ornamental practices. (…)
Short excerpt from Marie Muracciole’s White Weapon, published on gb agency website.