ARTIST BIO

Shadows of Houses Past

    Souleima Basha immigrated to Canada in 1992 from Syria. Majored in print media at Concordia University. The source material for her works are photos taken in her country of origin. This photo- based series focuses on connecting past and present. This is approached by the degradation of the image quality -which refers to the aging of the sites and the deterioration of the architecture. A veil of wax, and intended physical burns are then added to give a tangible feel to the subject, bringing it closer to the viewer. 


She took part in several group exhibitions in Canada as well as in the United States; such

as the 1st and 2nd Biennial Footprint International Print Exhibition in the Center for Contemporary Printmaking in Norwalk, in which she was awarded the 3rd  jurors prize. She also participated in several group exhibitions such and print exchanges. 


Several of her works are included in such collections as the National Library of Montréal, and Atelier Graff, where she had a residency, as well as private collections across Canada and abroad. 


Souleima still lives and continues to produce in Montréal.

 

LANGUAGES

“Languages are an annoying necessity”

K’s Choice



… Or are they?



Communicating seems as easy as it is hard. Do we then give up or keep trying? 

And with what tools do we create a language? What constitutes as one?

Layering does the trick… Time also plays a vital role

But who has time?

“ENOUGH!” says an Oval

Yes, time is much needed 

Misconceptions are cruel, So are prejudices … “Red isn’t always angry!” Says Black 

“Nor am I” 


Silence is crucial … But when is it time for it?

Maybe one day, all will fall into place… All in good time 

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MYLAR AND PENCIL

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MONOPRINTS

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RASM EL KROUM

 
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BAIT IBRAHIM BACHA, ALSO KNOWN AS QASR JOUMBLAT


Before the Hearing

These prints are of what used to be. Yet what is, sadly, is not what was.

Why do things change? 

The reason change is hard to accept is because it is simply not for the better. The present  is sad, and so it is much more pleasant to live in the past. Now things are harsh, even remembering is painful. Memories fade.

Photographs are taken to commemorate a moment. Prints remain long after the most beautiful buildings decay and fall to pieces.

What will happen? What will become of these monuments? Who will win in a courtroom filled with men claiming ownership over national heritage?



It is often said that one cannot understand the present 

Without taking a look at the past

But if history repeats itself, then we need only to wait 

After all,


Ignorance is Bliss

 
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HOLGA GOES HOME

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HOLGA'S TRAVELS

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PROJECTS

My concerns are with identity, belonging and memory. I question the notion of home and equality.

Through dialogue, conversations are created and these subjects and subject matters become equals to the viewers while retaining their sense of individuality to themselves

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FRAGMENTS

PORTRAITS IN WAITING

INTERNATIONAL PRINT EXCHANGE

PRINTZERO EXCHANGE SIX

 

CAMELOT

Round Table

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FRAGMENTS

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Shadows of Houses Past I 22x28 with Pane
Ghosts of Houses Past 30x40 with panel .
Ashraf Barsbay, Cairo 22x28 with panel .
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PORTRAITS IN WAITING

In a circle they all look… Silence is first

It takes over


Then they begin

I like your scarf

I like your tattoos, what do they mean?

It tells people where I’m from


What do you do?

I want to be an actress

That’s nice, it’s a hard business, good luck!


Did you have a nice life?

Most of it was wonderful, thank you for asking


Do you have any regrets?

Silence

How can one answer that ?

Every word is calculated

Roll your tongue seven times ….

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ON BOOKS...

The Grand Tour

“Once you learn the answers, you can never unlearn them”


p. 470 American Gods

Neil Gaiman



The fragility of the moment has been discussed and described many times, but it is only real when it is staring at you, when you see it coming towards you and when it has just passed you before a breath was taken 


Writing about memory and nostalgia has also become redundant in today’s art community, yet the totality of one’s art making is undoubtedly based on some sort of remembrance; After all, as Plato wrote, we always knew things, now we live to remember them. 


The totality of my work is also about the people met, the places visited, both those which went unnoticed and those engraved in the mind. This ephemera of memories and feelings mean that things intertwine. Suddenly, both the people who left a mark and the moments that are completely forgotten take part of that ephemera. 


The transparencies not only refer to the fragility of these moments but they also suggest something that was almost there, that one somewhat sees. And in its attempt to be suggestive and indescribable, and in its attempt to be a veil on reality, It become more real than ever. Simply because memories –being ‘past’ in essence- are more real in their absence. 

The Grand Tour, Cover made of Plexiglass
 

.EMBOSSMENT OF A TRIP

.CONTROLLING ACCIDENT WITH MEMORY 

.THE EPHEMERAL JOURNEY

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TELL HARMAL 

International Mini Print Exchange 2011

  

 
 

SHADOWS OF HOUSES PAST

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My concerns are with movement, time and memory. This body of work is a collection of 24x36 digital prints, questioning the misconceptions regarding the role of the camera as a tool to perceive reality. 
This camera defies its predecessor’s original purpose, meaning that it not only captures one, but four moments in time. Therefore it does not register the viewer’s reality but its own. 
The resolution’s roughness is often tied to the subject matter and the method is key to the understanding of the image. Opposing organic shapes and the sharp edges of each quarter creates abstract landscapes and an ephemera of memory and accidents.

 

A DAY IN THE SOUKS OF ALEPPO

Is this life simple? Or simply the same, If circumstances don’t change…. Why look different?

The need to pretend is there however, for reasons unknown to myself, hypocrisy is a common currency

And it happens to be expensive.

One should never bet on human dignity

More importantly, never bet on those who pretend to have nothing

Bet on those who actually don’t have anything

Nothing to pretend about ….





A Day in the Souks of Aleppo


Looking is easy

But nothing is as hard as seeing

 

A DAY IN THE SOUKS OF ALEPPO

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COLOURS OF THE FOUR

The Colours of the Four



Shapes and forms, made of colour.. In one so many 

Look close… back up … Do you see it?


You’re not meant to, how could you?


They are just colours,  Although they are made up of so many others

In the end, they are simply colours interacting with each others, and with you 

If you let them speak, maybe they’ll do more  

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FOUR AT NIGHT

Coming back home, It’s dark, 


little specks of light, here and there…

They made lines, triangles. They formed curves, so pretty are yellows and reds in all this darkness


Makes the night less scary,

Indeed beauty can be seen in the most unusual of all places, on a freeway no less

Most amusing indeed


Here’s an arrow, now I know where to go, I hope it’s leading me home

 
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SHAPES OF THE FOUR

Shapes of the Four


Plants, cards, people walking… 

All is well… 

Beauty and calmness are in all Light created, it made forms, colours

People seem to enjoy their daily activities, or was that the Four? Or maybe tourists made it all interesting? 

But I am no tourist, 

I am one of you, only with a little toy that seem to see the world in strange ways

I don’t think they understand… 

I’m not sure most people do, but no matter, this toy will explain 

All in due time

But for now, yes all is well indeed

 
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COLOUR 120 MM FILM

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CITADELLE D'ALEP

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BLACK AND WHITE 120 MM FILM

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CAMELOT

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PROFESSIONAL HISTORY

COLLECTIONS

-Private Collection across Canada, United States and Abroad. 
-National Library of Montreal 
-Tyler School of Art, PA, United States 
-Atelier et Galerie Graff
-Concordia University (Department of Print/ Fine Arts)

ASSOCIATION/ AFFILIATIONS

-SPA (Student Print Association) Concordia University
-Le Regroupement d’Artistes Le Levant 
-Comité de Decors, Pierre-Laporte 
-Membre de l’Atelier Graff

RESIDENCIES/ GRANTS

Ateliers Graff, Montréal, Québec

 
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EXHIBITIONS

2011  


 -“PORTRAITS IN WAITING” BIBLIOTÈQUE DE L’ÎLE-BIZARD, MONTRÉAL, QUÉBEC

- INTERNATIONAL PRINT EXCHANGE- GREEN DOOR PRINTMAKING STUDIO. DERBY UNITED KINGDOM       

- “FRAGMENTS” INDEXG GALLERY, SCOTIABANK CONTACT PHOTOGRAPHY FESTIVAL TORONTO, ONTARIO

- THE ARTIST PROJECT 2011, TORONTO, ONTARIO

-THE BOX PROJECT, ARPRIM, REGROUPEMENT POUR LA  PROMOTION DE L’ART IMPRIMÉ. MONTRÉAL, QUÉBEC 

2010  

- THE ARTIST PROJECT 2011 PROMOTIONAL BOOTH, ONE OF A KIND ARTS AND FAIR SHOW, TORONTO, ONTARIO

- SQUAREFOOT EXHIBITION. AWOL GALLERY AND STUDIOS, TORONTO, ONTARIO

- 2ND BIENNIAL FOOTPRINT INTERNATIONAL, CENTER FOR CONTEMPORARY PRINTMAKING. CT. U.S.A

- CONCORDIA BOXCARR -PRINT EXCHANGE- 2010, VANCOUVER/ MONTRÉAL, CANADA

- THE ARTIST PROJECT 2010, TORONTO, ONTARIO

2009  

- SQUAREFOOT EXHIBITION. AWOL GALLERY AND STUDIOS, TORONTO, ONTARIO

- PRINTZERO STUDIOS EXCHANGE 6. UNIVERSITY OF REGINA, CANADA

-PRINTZERO STUDIOS EXCHANGE 6. SEATTLE. U.S.A 

PRINTZERO STUDIOS EXCHANGE 6. MOUSEPRINT GALLERY. MONTRÉAL, QUÉBEC

2008  

- 1ST BIENNIAL FOOTPRINT INTERNATIONAL, CENTER FOR CONTEMPORARY PRINTMAKING. CT. U.S.A

S.P.A (STUDENT PRINT ASSOCIATION) PRINT  EXCHANGE  V.A.V GALLERY,  MONTRÉAL, QUÉBEC        

- S.P.A (STUDENT PRINT ASSOCIATION) PRINT  EXCHANGE  V.A.V GALLERY,  MONTRÉAL, QUÉBEC

2006

-LA CLASSE DE MADAME GARFFIN,  ATELIER CIRCULAIRE, MONTRÉAL, QUÉBEC 

-OPEN MONOPRINT STUDIO, TORONTO, ONTARIO 

-ÜBERCULTURE COLLECTIVE, MONTRÉAL, QUÉBEC 

2005

-ANNUAL PRINT SHOW  V.A.V GALLERY,  MONTRÉAL, QUÉBEC

2001    

- GROUP PRINT EXCHANGE, CONCORDIA UNIVERSITY & TYLER SCHOOL OF ART,        

MONTRÉAL,QUÉBEC AND ELKINS PARK, PA,    DECEMBER 

 

ARTIST STATEMENT

Pratique artistique

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    As an immigrant, bridging the gap between culture of origine and acquired experience or at least presenting it as an issue in our art making is inevitable. It’s almost expected. Balancing both heritage and technological awareness is challenging an this duality is bound to present itself in my art practice. 

There exists a dangerous misconception that technology is synonymous to civilization. It provoques many prejudices, debates and arguments between cultures. 

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A civilization should not be judged based on the totality of technological advancement produced but rather in relation to what its people have created with the tools and material at hand.

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My concerns are with belonging and memory. It questions the notion of home and debates whether it is in the physical or in the emotional realm.


These artworks concentrate on architecture and on the decay of important monuments due to both natural degradation and human neglect and war. This, while describing peaceful landscapes of deteriorating wonders. It creates an ephemeral world where past and present merge and fade into each other. Because these monuments are represented in their present state of decay but with the aesthetics and grandeur of their past. It makes the viewer feel like a voyeur or an intruder, and bringing an uneasy feeling as humans are inevitably responsible for the deterioration of their own homes and consequently their own history.

My practice also presents moments from the daily life of my people, portraying their city, simple yet rich. Describing peaceful landscapes of deteriorating wonders. Creating an ephemeral world where art is made for people’s sake or if for no one else than for the creator alone.

 

CONTACT

221 rue St-Jacques, Montreal H2Y 1M6

514-804-2024

Thanks for submitting!

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