Sarah-Athina NahasWorry embroidery (تطريز القل), 2022Mixed media on various types of stained fabrics117 x 78 cmSarah-Athina Nahas, Worry embroidery (تطريز القل), 2022£ 9,000.00
Sarah-Athina NahasUntitled (Sundial), 2021Acrylic, coloured inks and thread of various cotton fabrics82.6 x 103 cmSarah-Athina Nahas, Untitled (Sundial), 2021£ 9,800.00
Sarah-Athina NahasKeep your heart safe, 2019Pen, acrylic and crochet on raw cotton canvas,57 x 23 cmSarah-Athina Nahas, Keep your heart safe, 2019£ 3,100.00
The need for fluidity has been ever-present in my mind lately. We talk about fluid genders, fluid identities, fluid bodies… but also bodily fluids. I find these two interesting when juxtaposed. Fluidity as something to be celebrated, bodily fluids as something to be concealed. So it only felt natural that “fluidity", both in a metaphorical and literal way, has hugely informed my practice. I abandoned the fixed nature of the stretcher with its rigid structure and instead opted for supple fabrics that refuse to be stapled down. They embrace the folds and flaws and sway at every passing breeze. Like a breathing organism, it reacts to its environment.
Stretchers offer the comfort of something that has already been done, a stable ground, Lately, I enjoy not knowing. I embrace the unfamiliar. While in the studio one day a question popped into my mind: Do we ever plan our thoughts? Silly question first thought, but… taken in their rawest form, thoughts are like an unstoppable disordered flow. Often unexpected and surprising. It is an uninterrupted flow, like our blood from head to toe.
The surfaces of my works, with their tiny little weaving holes, like tiny little pores, act like skins. Unprimed and porous, they absorb what I allow to escape. They absorb the literal fluids, but also the angst that comes with living. I see my fabrics as healing skins, on which I paint stories.
I said one day, that the images I create are the scraps of my soul. What I meant to say was that they are the scrapings of my soul. For this reason, I let the dirty and painful gritty parts of me be absorbed by the surface and tell the story they have to tell.
Born 1995 in Beirut, Lebanon
Lives and works in London, UK
2022 MA Painting Royal College of Art, London, UK
2017 BA Fine Art Wimbledon College of Arts, London, UK
2016 BA Illustration and Comics Académie Libanaise des Beaux-Arts , Beirut, Lebanon
SELECTED GROUP EXHIBITIONS
2022 Home, The Regency Townhouse, Hove
What is becoming us, Rupture Xbit, London, UK
Royal College of Art degree show, Royal College of Art Battersea, London, UK
2021 Taking Shape, Espacio Gallery, London, UK
The Ceiing With a Tranquil Eye, 24 Cork Street, London, UK
RCA Work In Progress Show, online
2020 Wimbledon College of Arts’ final degree show, online
Penultimatum, Copeland, London, UK
2019 Burn the Witch, Safehouse Gallery, London, UK
Sandpit, 72-75 Red Lion Street, London, UK
2022 End times, Amersham Arms, London, UK
No I don’t want no scrub, hARTslane Gallery, London, UK
2021 Self Skinning Poly, Hundred Years Gallery, London, UK
Moving Harts, hARTslane Gallery, London, UK
The Monstrous Femme, The Safehouse 1, London, UK
2020 Final year degree show, online live event, London, UK
2019 Four Hands meet for the first time, Wimbledon College of Arts, London, UK
Angela Willament has 6 toes, Wimbledon College of Arts, London, UK
Echoes of Belonging21 Sep - 2 Oct 2023DAA ART is thrilled to announce the new exhibition “Echoes of Belonging” curated by Vittoria Beltrame at number 99-103 Long Acre, WC2E 9NR, in Covent Garden, Central London.
Towards a New Intellectual Cosmos:A Reflection on Contemporary Forms of Expressions 15 Oct 2022 - 15 Jan 2023Daa Art is proud to present, “Towards a new intellectual cosmos: A reflection on contemporary forms of expressions”, an exhibition of captivating artworks that allure the viewer with rich textures and colours, unique practices and innovative techniques. The curated pieces demonstrate a variety of artistic mediums by which new norms, ideas, standards and values are articulated.