Arafa Cynthia Hamadi Portfolio

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ARAFA C. HAMADI

VISUAL ARTIST & SET DESIGNER

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PORTFOLIO (UPDATED 2022)

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VISUAL ART WORK

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ALTAR, 2022

La Tour-de-Peilz, Switzerland

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kiburi, 2021

Dar-es-Salaam, Tanzania

LETU, 2020 Personal Explorations of the Digital Self, 2020

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The Kujiona Series, 2020

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Lacework, 2020

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mirror / gesture, 2020 form / gesture, 2020

SAFE SERIES, 2019

Maputo, Mozambique

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ALTAR (2022) La Tour-de-Peilz, Switzerland

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ALTAR is a culmination of the artists’ experiences exploring local queer spaces in Switzerland, while also exploring the effects of solitude while immersed in an unfamiliar culture. Initially conceptualized to be an iteration of the labyrinthine SAFE Series (2019 -), ALTAR became an abstraction of multiple spaces in which the artist felt comfortable and safe while in Switzerland. They extensively explored the young ballroom culture as it currently exists in Lausanne, Zurich and Geneva and gained lessons about community organisation from members of the Houses of Phoenix and Poderosa, as well as a few prominent 007s, and were overwhelmed by encounters with icons and legends of the wider European scene. This culture, represented through symbology derived from a study of labyrinths and fractal designs in East African ornamentation and hairstyles, is abstractly brought to you through various spatial arrangements.

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This is an on-going work, forming itself through the spaces it borrows from and exists within. ALTAR is the artist’s physical manifestation of reverence.

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Credits:

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Work was created as part of the Pro-Helvetia Principle Residency during the summer of 2022. The residency and exhibition was hosted at La Becque Artist Residency.

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An Ode to the Runway ALTAR, 2022

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Hair Piece 1 & 2 ALTAR, 2022

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kiburi (2021) Dar-es-Salaam, Tanzania

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Simply put, we are proud. That is why in reclaiming our identities, we have also chosen to reclaim our bodies and the skins we wear on a daily basis. Tattooing as an art form is just one of the ways we have chosen to do this, and in choosing to acknowledge the deep history of the various pre-colonial East African tattooing practices, though deeply gendered and traumatic, we

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Mimi binafsi na wenzio wangu, tunajivunia. Ndio maana tukidai hii asili yetu, pia tunadai hii ngozi ambayo tunaivaa kila siku. Sanaa hii ya kujichora ni njia moja tu ambayo tumechagua, na kwa kutambua umuhimu wa historia ya kujichora nchini mwetu, tangu miaka kabla ya ukoloni, tunaunda ngozi mpya inyotufaa miili yetu ya sasa.

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Description:

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“kiburi”(2021-) is a multimedia body of work that explores design and thematic characteristic of pre-colonial East African indigenous tattoo practices, combining contemporary Swahili coast-inspired symbols with aesthetic drawing techniques inspired by the Makonde and the Barabaig tribes. A diverse set of 3D scanned bodies, known as “echoes” in current and past works by the artist, are used as canvases for the new designs, and are

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evoke a sense of relief – scars left behind through the invasive art of tattooing. While the printed pieces are 2D, Augmented Reality is incorporated to allow the audience to experience the way the artwork wraps around the entire body.

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“kiburi” is an on-going series of artworks.

Credits:

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Work was created as part of the Digital Artist Residency at Nafasi Art Space in September and October 2021. Funded by the International Relief Fund for Organisations in Culture and Education 2021 of the German Federal Foreign

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To activate the Augmented reality feature, please download the Black Terminus applicaiton on your smart phone and point at the images, or check out the videos via my instagram account, @arafa.buids.

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mwezi | the moon kiburi, 2021

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mlala | the doum palm kiburi, 2021 kambamti | the lobster kiburi, 2021

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letu (2020) Kilifi, Kenya

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“I am non-binary and a queer person, which means I technically do not exist.”

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LETU (2020), meaning ‘ours’ in Kiswahili, presents two fantastical 3D worlds in which non- binary bodies freely inhabit. These worlds exist through the freedom that is only afforded to us when we enter the digital/online space. These worlds are populated by us, non-binary beings, who physically appear as abstracted echoes playing throughout the landscape. One hopes that as visitors meet us within our worlds, explore and experience our individual soundscapes, they will consider their own physical presence in the world, and how much it depends of the permanence and validation of the moments they experiences in their daily lives.

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Description

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An online digital experience, presented as a website through the Institute of Creative Arts, Cape Town University portal.

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Credits:

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All digital assets were created by and belong to Arafa C. Hamadi.

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This work features Nyokabi Kimari (they/them), a multidisciplinary artist based in Kenya. Follow their work on instagram @nyokabi999 .

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Digital Artwork can be viewed here; https://icaonline.net/artwork/arafa-c-hamadi/

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Arafa’s World from LETU (2020) Blender Renders

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Nyokabi’s World from LETU (2020) Blender Renders

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Images of the artwork as it existed online from December 2020, in order from top left: Instructions Page, Intro Page, Arafa’s World, Nyokabi’s World

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Digital Artwork can be viewed here; https://icaonline.net/artwork/arafa-c-hamadi/

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Personal Explorations of the Digital Self (2020)

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During the DAR November 2020 residency, which took place online on their website (https://digitalartistresidency.org/) and instagram (@digitalartistresidency), I shared an exploration that used 3D scanning software as a means of archiving physical memory. Through video, I explored a means of capturing my body through real-time scans, thus creating moving images that a reality that is continuously being read, interpreted and often misunderstood.

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Full Project can be viewed here; https://youtu.be/4xr5mAGmMkk

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Personal Explorations of the Digital Self (2020) 3D Scanned Images

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I, I, the Digital Self (2020)

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of a poem I wrote in 2017 titled “I, I”. This poem was a reclamation of my body and autonomy, written while I was attempting

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my sexual and gender identity. The various scanned captures of myself, recreating several different moments of despair, doubt and self-harm that I continue to experience into the present, even as I develop through my new selves.

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Film can be viewed here; https://youtu.be/hjoKzM4OwcE

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The Kujiona Series (2020)

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In this series, I explore my culture with an intent to I have found myself actively and inactively living in other towns along this Swahili coast. This has led me to a process of relearning about my home, the cultures and the people who live here. The Kujiona Series is born from this process, and includes the conversations and creations I have accumulated in the past three months.

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and painted Swahili dhow – follows a three part progression that moves from collecting (Kusanya), relearning (Jifunze) and reimagining oneself (Jione). Through this work, I hope to present a very personal process of rediscovering my culture and an intentional repositioning of myself and my queer identity.

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Kujiona, follows the progression of a protagonist, myself, having two

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that I have created an artwork out of. The second is a conversation with Kevin Mwachiro – a queer Swahili man who has also found himself through engaging with the coast. This is presented through snippets overlaid with sounds from the coast that are familiar, and I hope this captures the continuous dialogue I am having with my home.

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Description the physical artwork (150cm x 50cm).

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Film can be viewed here; https://youtu.be/4xr5mAGmMkk

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Images: selected frames from the Kujiona

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Kusanya of Kujiona Series (2020) 50cm x 150cm

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Jifunze of Kujiona Series (2020) 50cm x 150cm

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Jione of Kujiona Series (2020) 50cm x 150cm

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Echoes (2020)

“Echoes” is amongst multiple imaginings of the spatial quality of time during this seemingly endless period of the Covid-19 pandemic. The of an anxiety-induced spiral, where a fear of three portraits placed within a single image encapsulate the entire emotional spectrum of

Over the course of two weeks, I captured intimate moments of myself in motion using 3D

that then become the titular echoes. The echoes are then exported as 3D meshes into Blender 2.8 where I manipulate the skin as well

are the captures of motion. Once rendered, the echoes are then placed in a 2D scene, where a stereoscopic effect is added to create another layer of depth into the image, and this paired with a noise texture in the background create an image that seems to be constantly in motion, as if a moment and it’s echo caught in time.

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Lacework (2020)

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“Lacework” is amongst multiple imaginings of the spatial quality of time during this seemingly endless

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Time. In it, I imagine several different events such as playing, self-observation and shame enacted over a period of time. These events are then laced together to create a single moment, alluding to the subjectivity of time.

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These events were captured as solid digital forms using a 3D scanning application, which produced

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echoes - were then placed within a single, boundless digital space amongst other scattered translucent echoes of their original environments. These echoes lace into each other creating a tapestry, which we view through the single, unmoving perspective. This perspective is perceived as that of Time because of the synoptic view of the events that unfold.

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This layering and manipulation of the passage of time is echoed in the soundscape as well, which was recorded at each location the echoes were captured. In it we hear birds, ocean waves and echoing steps that overlap to create and unintelligible cacophony of sounds.

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Film can be viewed here; https://youtu.be/ROgJB8Mn3bc

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Images: Blender Renders from the Lacework

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form / gesture (2020)

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“an object of sense that in itself involves the shortcircuiting of sorts in our cognitive and conceptual capacities”

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Within me is a gesture — an innate “action” that my body has been producing since I was a child. In an attempt to understand my own expressionism, I begin to repetitively perform the gesture over the course of a month-long self-isolation, allowing myself to meditate for hours over the creation process. This gesture is performed on various canvases in an attempt to understand how the gesture shifts in space and texture. This gesture is performed at various times of the day, in different parts of the house, within different mental spaces. This gesture is performed until I am no longer in this space, I am outside myself, my being is ephemeral.

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form / gesture is a single study of a larger body of work based around an abstract gesture. In this piece, I perform the gesture on abstract forms, observing how my hand adapts to the shift in the canvas’ form.

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Description

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4 images of the form (150cm x 50cm).

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Film can be viewed here; https://youtu.be/GwZmUUM9iIk

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gesture
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mirror / gesture (2020)

“an object of sense that in itself involves the shortcircuiting of sorts in our cognitive and conceptual capacities”

Within me is a gesture — an innate “action” that my body has been producing since I was a child. In an attempt to understand my own expressionism, I begin to repetitively perform the gesture over the course of a month-long self-isolation, allowing myself to meditate for hours over the creation process. This gesture is performed on various canvases in an attempt to understand how the gesture shifts in space and texture. This gesture is performed at various times of the day, in different parts of the house, within different mental spaces. This gesture is performed until I am no longer in this space, I am outside myself, my being is ephemeral.

mirror / gesture is a single study of a larger body of work based around an abstract gesture. In this piece, I perform the gesture while observing myself over long periods of time.

Description

exhibited with 3 framed images (50cm x 100cm).

Film can be viewed here; https://youtu.be/tlGRVZDIuws

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mirror / gesture (2020)

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THE SAFE SERIES (2019)

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: a safe space (2019)

In Collaboration with M.Ouazi

#COLABNOWNOW Digital Residency

Instituto Camoes, Maputo, Mozambique

Description

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White plywood and tarpaulin structure with poetry hand painted in black by M.Ouazi with a tree stump placed within.

Dimensions 4m x 5m

Artist Statement: M.Ouazi

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Artist Statement:

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Title of Work:

Spatial Confessions: a safe space (2019)

In Collaboration with Shirin Khlif

#COLABNOWNOW Digital Residency

Instituto Camoes, Maputo, Mozambique

Description

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Plywood structure with woven mats and pillows, walkthrough with headphones playing 3 different soundscapes produced by Shirin Khlif.

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Dimensions 5m x 5m

Artist Statement: Shirin Khlif

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Artist Statement:

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COMMISSIONED WORKS

Sondeka Alt World, 2020

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Star Homes Project, 2021

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Sondeka Alt World (2020)

Comissioned by Creative’s Garage, Kenya

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In Collaboration with Kevin Karash

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Description

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An online digital experience, designed to appear alien and

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Credits:

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Star Homes Project, 2021

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The Star Homes project is an architectural development in 60 villages across the Mtwara region in Tanzania, and was developed by an interdisciplinary team of architects, physicians and entomologists. The project maes used of robust climactic interventions and is adapted for the hot, tropical climate.

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Description of work:

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An online digital tour of the Star Homes Project, created through abstracting the original architectural drawings of the project. Using Blender and 3D Scans, the artists abstract and animate the

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homes, combining environmental design as well as textures and custom 3D objects to bring life into the virtual models.

Credits: All digital assets were created by and belong to Arafa C. Hamadi and Kevin Karash.

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1. Ruvula is a small village on the Msimbati Coastal Peninsula in the Mtwara region in Tanzania. This is Star Home 091, currently under construction for the Abdallah family.

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2. Healthier Cooking: respiratory illness is an acute problem for women in rural Africa. A smokeless stove and well ventillated cooking area reduces smoke. contamination of ingredients.

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3.

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to allow a family to get out quickly.

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1.

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views of the lake. It is also the home of the Omari family, for whom House 103 is being built.

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2. Screening-out Vectors: Screening all openings deter the intrusion of insects, lowering the risk of vector-borne diseases such as malaria and dengue fever. Self-closing doors and closed eaves further reduce the number of insects entering the house.

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3. Accessible for All: A child gate and low handrails help prevent children and the

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Images, clockwise;

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1. Mngoji is a village in the Mtwara region in Tanzania. It was recently devastated welcoming and sociable people, and is home to the Issa family, for which Star Home 076 is being built.

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2. Cleaner Water: Rainwater tanks are screened to reduce vector entry. The water from the roof from entering the tank.

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3. The Latrine: The latrine uses a self-closing toilet pan and a screened ventilation allowing fresh air to easily pass through to reduce odours. The spacious latrine provides a private space for the family to wash, improving sanitation.

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