Israa Kazem; Balance between Spirituality and Geometric Perfection

Abstract Human and Islamic pattern. Handmade Paper, dyes, rust, gold leaf. Dimensions with frame: 67.5 cm × 83 cm Production Year: 2019.

Israa Kazem uses handmade paper as her primary material, breathing
new life into it. As it carries its own story. Her work merges the magic of
nature with the aesthetics of ancient art civilizations, influenced by
Islamic art and miniature paintings creating a style that is both vital and
contemporary. The process demands precision, resulting in pieces free
flowing lines and texture of the paper lend a unique character to the
artwork, in addition to depth and expression—a return to roots.
These frameworks surface in her approach to papermaking—a process
where chaos (raw, recycled materials) yields order (structured sheets),
mirroring the emergent patterns found in nature.

Flamingo reflection and the disk of sun
Paper Pulp, Gold leaf, Dried Leaves, Stalks of Grain Plants, Ink, Color Dyes.
Dimensions with frame: 132.5 cm × 102.5 cm
Production Year: 2023


Her work transforms discarded fibers from wastes into delicate sheets of
paper, each piece is a tactile archive, inviting the viewer to
contemplation on sustainability and our relationship with the natural
world.

Deer are running on the mountain
Handmade Paper, feather, gold leaf, dyes, ink, acrylic pens.
Dimensions with frame: 85 cm × 50 cm
Production Year: 2024.


She aims to highlight the diversity of living organisms and the different
environments surrounding them, especially highly diverse ecological
communities.

Deer are eating flowers
Handmade Paper, dyes, ink, gold leaf. Dimensions with frame: 40 cm × 40 cm Production Year: 2024


This harmony is evident in her paintings, which may combine deer
surrounded by geometric patterns, or blossoming flowers where
the deer serves as a decorative motif. This fusion creates a visual
language that speaks of the balance between two worlds: the
world of spirituality and geometric perfection, and the world of life
and growth in a timeless artwork.

Handmade Paper, Dyes, ink Dimensions with frame: 50cm × 50 cm Production year: 2020


In her artworks collection, the deer refer as a main symbol, not
merely appearing as an aesthetic form, but carrying various
perspectives and meanings. The artist employs it as a symbol of
optimism and new beginnings.

Handmade Paper, Dyes, ink Dimensions with frame: 50cm × 50 cm Production year: 2020


In its grace and lightness, the deer represent hope and the journey
toward a better future. In Islamic art, the deer have always been
associated with beauty and gentleness, making it the perfect choice
to express her vision. The deer is painted in state of stillness and
motion depicted in a style that combines simplicity of form and
ornamental pattern, giving it a symbolic and contemporary
dimension simultaneously. This demonstrates that art knows no
bounds, and that the dialogue between past and present can
produce creativity that transcends time and place.

Israa Kazem (B. 1987) is a Cairo based visual artist and researcher, holds
Bachelor degree of Art Education, Helwan University.

She earned her master’s degree 2015, PHD 2020, in drawing and painting. Kazem is a member of the syndicate of plastic artists. She participated in many international and local Exhibitions. She found her creative inspiration in her drawings and paintings through nature. Kazem employed many drawing, painting, printing and mixed media techniques to achieve her artistic style.

Kazem uses handmade paper and paper pulp and combines them with
different materials. Her use of natural materials not only adds depth and
texture to her artwork but also focuses on the importance of sustainability in art and life. Her artistic practice reflects her respect for the surrounding environment and express its essence through her own
vision.

Solo Exhibition:
“Green Border”, Mahmoud Mokhtar Cultural Center, Nahdet Misr
Gallery, 2023.

Group Exhibitions:
– Agenda Exhibition, Conference Center, Bibliotheca Alexandrina,
12th, 14th, 15th, 16th sessions for the years 2019. 2021, 2022, 2023.
– Cairo International Art District Exhibition (CIAD), Second Edition, Art D’Égypte, Downtown, 2022.
– General Exhibition entitled “Art…The Memory of the Nation”, the 42nd session 2021, Arts Palace, Cairo Opera House.
– White and Black Salon, 5th session, Gezira art center, 2020.
– First Time Exhibition, 14th session, Conference Hall, Bibliotheca
Alexandrina, 2019.
– Second Exhibition: Artist’s Book, Mahmoud Mokhtar Cultural
Center 2019.
– Dai Festival of Arab Youth, Second Session, 2018.
– Exhibition of the accompanied workshops for Cairo Salon 58,
Artist book workshop, the Fine Arts Lovers Association, 2018.
– South International Salon, Faculty of Fine Arts, Luxor – the 5
session 2017.
– Youth Salon, 20th, 21st, 26th sessions Palace of Arts, Cairo Opera House, for the years 2015, 2010, 2009.

Awards and Grants:
Kazem won the First Prize in Youth Visual Arts competition, 6th Edition, El Horreya Center for Creativity, Alexandria, Cultural Development Fund
Sector, Ministry of Culture.

Sabbatical Grants Artist in the field of Fine Art specialized in Painting,
Supreme Council of Culture, 2019, 2021, 2022, 2023.

Israa Kazem prepared the official representation of this article and has granted permission for this article to be published.

Bari Degi, Two Poems by Meesha Goldberg

Mountain Top Budoji Meesha Goldberg

Tigers

            after the Korean myth Bari Degi 

1. The Queen So Stunned

Where do tigers sleep? she thought

while praying in the dark

She prayed so hard

her lips had long gone automatic

She prayed so hard

even indifferent spirits

stirred in their den in the stars she prayed 

so hard

the brass tongues in her skull chimed

so hard her knees polished the pine floor

& sweat bled through her dress

Can you first smell the tiger? You can’t 

help these thoughts 

while listening for spirit

She prayed so hard her palms calloused

as farmer’s & her heart charred

but after 100 nights 

she & the king shared the same dream 

of the big dipper 

waterfalling

light into their breast

so she forgot 

prayer is a hollowing 

for fate 

She prayed so hard that when still this seventh baby

was born a girl

the queen so stunned

to be abandoned by the gods

agreed to leave it in the mountains

in its brother’s useless silk

on which she scrawled

in royal blood

throwaway

바리

Budos Sacred Medicine Meesha Goldberg

2. Wild Bound Till Fifteen

In darkness my mother’s 

yellow eyes spotlight

Every muscle listens for how 

the owl heralds & the boughs pine

My hunger rustles & those moons

set to meet mine, purr a lullaby till I latch

a teat in her whitest fur. I’m cream warm

bare skinned & sated it’s like

no harm could ever come

She is my god 

& my god delicious

Licked twice by my mother’s tongue

her copper breath soothes me 

When I dream I wake

& every eye in the rockface blinks in sympathy

The mountain lives

I pick up chants by the echoing den

alphabets in constellations

every plant suggests its spirit

every wind a parable

By the new year I’m reared 

in the art of stillness

as the cubs learn patience by the hunt

mimicking their matriarch

The forest’s feral almanac 

opens its hard spine &

by & by I’m schooled

& refined through survival

Scrying veins in riverstone

saving seed to spring scatter

etching reflections in turtle bone

wild bound till fifteen 

& freshly bled

a woman

written and illustrated by ©Meesha Goldberg

Meesha Goldberg is a Korean American artist and poet living in Charlottesville, VA. Her experiences growing food, serving as an activist, and journeying to sacred places have made her a powerful advocate for the Earth. Goldberg has exhibited her work in solo shows around the United States, with her debut poetry chapbook “The Seed is Waiting in the Dark” forthcoming in 2024 through Finishing Line Press. Her art crosses the boundaries of genre to both experience and express transformational repair. Performance, ritual, painting, film, and poetry merge in durational, place-based works and gallery installations that insist upon the re-enchantment of the world. 

The Seed Is Waiting in the Dark by Meesha Goldberg

This title will be released on January 19, 2024

The Seed is Waiting in the Dark confronts the realities of ecological catastrophe and diasporic displacement with the lyric intensity of a life lived reckoning with questions of collective survival. Included within this debut collection are five of Goldberg’s paintings, which poignantly illustrate these feral, visionary poems. Full of grief, grace, and lessons from the land, The Seed is Waiting in the Dark conjures ancestral instincts to claim belonging within the cycles of natural life.

RESERVE YOUR COPY From FINISHING LINE PRESS

http://www.meeshagoldberg.com/

Por Consejo de los Cantos Cámbricos Enrique de Santiago

Toda ciudad hiede a sombras
las cuales son a su vez sus cementos,
que la ocultan,
a ella, la de la piel perlada
y ojos evocadores.
Filo emergido del océano antiguo bajo la oscuridad nubosa de la palabra
sonido del reino animal que dibuja su notocorda (o notocordio) por consejo de los cantos cámbricos de células turgentes
y cada cuerda se compone según designio
con ese diseño urdido en los albores del primer sentir del todo
música que continúa con su decibel arcano y transversal.

written and illustrated by ©Enrique de Santiago

Enrique de Santiago is Enrique González Chouquert

Born in 1961, he entered the Faculty of Arts of the University of Chile in 1980, from where he was exonerated at the end of 1981. There he had classes with artists such as Luis Lobo Parga, Adolfo Couve and Luis Advis among others. It was then that he began his studies in fine arts at the Institute of Contemporary Art, where he was a student of Sergio Sosa, Milan Ivelic, Gaspar Galaz and Enrique Zamudio, among a long list of notable academics.
He interrupted these studies to enter Graphic Design, where he would meet great masters, such as his friend Claudio Cortes, or the outstanding Antonio Pérez and Patricio de la O. At the end of this training, he returned for one more year to the Institute of Contemporary Arts, and finally , studied a Color diploma at the Catholic University of Chile during 1992.

He is considered one of the most notable representatives of surrealist painting; His works have been exhibited in Italy, France, Spain and the United States.

Secret of the Air, Enrique De Santiago

Huge old stars leaning out of the
horizontal cobblestone sheets,
were dictated by an ancient manual of glorious epic forms
where I did not read the cunning locks,
from there fall lights like eagles
what they hang before your pale fortifications
and despite the fact that I descend without air
I cling to the dissected edges of this abyss
walking away from the waves of floral promises
with summer mentions that anoint you.

The amaranth silence rocks the star again
and like the silent lymph
you seek to break beyond the fundamental shell
the one that you came to know in a primitive way
in the sweet stays of belief.

Blows the hydrogen on the leaves
and many cycles are enough for oblivion,
while the trees stand
because they keep their memory in the roots,
to later give shelter to life
vertical.
I am the extended earth,
I still have memories of that
Winter will come without you realizing it.

The specificity of the meander
winding secret of the air
like the grass with its distant star.

written and illustrated by  ©Enrique De Santiago

Artist, Poet
Enrique De Santiago

Mycelial Visions Enrique de Santiago

Mycelial Visions is a work that I have been maturing for months and that deals with the wonders and mysteries that the Fungi Kingdom contains, a name that is used to designate a group of eukaryotic organisms where fungi or mushrooms, molds and yeasts are found. This kingdom is one of the 5 great ones that make up others, such as animalia, plantae, protista or monera, having very own characteristics that distinguish it from these others due to its taxonomy and complex life cycles.


Specifically, the so-called mushrooms of the Psilocybe family caught my attention and their role as sacred psychotropics (hallucinogenic or neurotropic) in vast cultures, with records of this use, from the Paleolithic (Siberia, Sahara and Spain) to the present day. The power that these have to expand the mind and open unsuspected portals is well known, and that it has a certain analogy with what Eliphas Levi explained, regarding the 3 states to know the secrets of the universe, such as the embryonic state, dreams and delirium.


Thus, since the dawn of animism, these mushrooms have revealed, with the guidance of healers and shamans, that which is invisible and also ineffable, since those who experience these trips cannot express or relate what they have experienced on these trips to what is supposedly the depth of being and soul. These mushrooms usually occur in the dung of animals and it is plausible that prehistoric nomads followed herds not only for their meat but also to collect these mushrooms that were found growing in the feces of the herds. Among these mushrooms are the Psilocybe Mairei in North Africa, Psilocybe Cyanescens, present in Europe, America and Oceania, or Psilocybe Zapotecorum in Mesoamerica, to name three of the most recognized.


They are heterotrophic organisms, that is, they acquire their nutrients from abroad. Their form of reproduction is by spores and they have specific anatomical structures for their production, such as asci (contain ascospores) and basidia (with basidiospores). In fungi, reproduction can be asexual (without formation of a fruiting body) as well as sexual. Like the other kingdoms, they have different shapes, colors and sizes. Its habitat and location varies according to species, being able to grow in treetops or at the foot of it, as well as on rocks or soil, preferably where there is humidity and shade.

written by Enrique de Santiago. The art works are acrylic and ink on 300 gm Conqueror paper. Each painting and poem is a door.

FULLNESS
A secret freedom opens through a crack
that you can barely see.
Rumi
The morning and its ancient mystery
with his new cycle
embracing my vertebral calm
with dawn light steep in aerial stays
of a non-Euclidean flight
and its fertile messaging that awakens the annelids
to caress my future memory.

CONCILIATION
There are times when all the accumulated anxiety and effort
they rest in the infinite indolence and repose of nature.
Henry David Thoreau
I have heard the incessant whisper of the maitenes
and felt its impetuous root that sings its light music
mounted on the invisible verticality of design
that escapes geometrically
by the high pendulum cusp where I found the voice of the origin
so I became a body in the bark
adding myself to the essential channel that pulsates in the hollow
where the bird flies
with his outburst of winged love
that awakens the astral eyelid
and light the new dawn.

DOWN
From the labyrinth of white meats
where the filaments fractionate the divine eye
the wise thread emerges from the molten magma before time.

DREAMS
in the belly of the stone
the dragon’s breath is hidden
and in every cosmic cycle
stir your energy that moves
the suns and their destinies.
You’ll know when the word goes on
in that object that radiates silent voices
by a demiurge who lost
love in a vortex
in that surprising weather.

HUGGING THE BELLY
Diverse waters nest
in the hidden embryonic embraces
where the blade of time
pick up the promise
made to the stem
in that sacred way.
And I saw a new way
and their metals hugged tightly
the sign of the night
dropping urgent shadows
as field dams
one upright and down
in his immobility.

LIGHT
The universe came down to my domain
Opening the lights before precarious
those who entered
In the bones of my soul.
Light of the hidden.

SEEING EYE
the flesh of god
opened the sky
and my inner eye
saw the route of the serpents.

HEAVENLY LANDSCAPES
In the surroundings of the uranic gem
the voices of the magicians are raised
that bear ancestral flowers
to heal the wounds of oblivion.

REVELATION
There was his high imponderable crown
on the distinguished and lukewarm verticality of the mystery
without leaving a shadow in the mirror of the high magistracy
of the verb
pouring her violet love towards his moist horizon
and restlessly embracing your silhouette that I don’t know
That’s how I saw you behind the meanders of destiny
in the sudden revelation of the morning birds
Will you be the trail to be followed in unknown times?
perhaps I will drink of your honey under the sign of the equinox
coming
As soon as you feel your eyelids full of the light of your
redemption
and rest the incandescent pearl that comes down from the dew
this will be the floral beginning of the silent explosion
like the one that leaves the pollen in the aerial possibilities
while I await your coming.
Someday they’ll die out under the rust
the gears that bind us to reality.

DIRECTIONS
My constellations that guide me
pushing my mild matter
in this immense sum of fiery spheres
and finite
inside the womb of mystery
with its unsuspected breath of flowers
because as above so below
since nebulae have their own pistils
and here I am with my steps apprehended
waved and sacramented
right and wrong
taking up the path dictated by the stars
smiling under high serene clouds
looking for other paths
that will bring a new hand to dream.

only one Mycelial Visions was made

Enrique de Santiago

The Star Forest of Our Hearts Luke Orsborne

The Star Forest of Our Hearts

Even as the ghosts of digitized nations
slip through concrete and copper corridors,
trained to an algorithm’s lace like fictions
as nerve impulses skittering through warring cityscapes of disinformation,
we build
refuge out of the star forest of our hearts,
solace from a mass marketed desolation
that sought to quantify our moments of laughter and candlelight
into profitable data points,
electronically devouring life’s contours
along the splintering edges of nuclear armed surveillance grids.

Having waded through the shoals of synthetic tides
typing keys like throwing bread
into the rippling data of our managed distortions,
we were one slip away from drowning
in the hypnosis of an artificially intelligent destabilization,
becoming choreographed gestures on fragmenting coasts of awareness,
dancing our collective death
in an unraveling climate
to simulated music of the living earth
whose authentic chords we had long abandoned.

Yet it was from within fertile spaces
illuminated by the horrors of a centuries-long breakdown,
in the growing fractures of our CGI psychosis,
now wind powered, mercilessly, with the cobalt hauled by children,
that with great effort
we freed ourselves
from the image of hunted monster
into which extinction’s machinery had imagined us,
and opened to an urgent focus
into the cascades of solar musings breathing through us
as the sun poured itself across space,
blooming into the capillaries of new leaves,
guiding damp morning stretches of budding silver grey
into an earth memory’s grassy rock strewn hill side,
feeding through our eyes
warm flowering canopies
in gardens of possibility and dream,
where somehow
beyond the twist of jacketed wire
glossy front cover fantasies, hollow promises of roadway freedom
and second notice anxieties,
beyond the dizzy banquet of urban lights
whose glare stole whole constellations from our nights,
beyond school bells that recalled gunfire,
and camouflaged men patrolling the streets,
we found ourselves, somehow
scattering the regenerative seeds of our collective heart’s forest,
watering translucent growth in the shimmer of galaxies
that together we yet cradle
in love’s fiery pulse.

Luke Orsborne

Luke Orsborne graduated from William and Mary with a BS in Studio art in 2001. Informed by a long term practice of meditation and reflection, he continues to embrace his creative side in rural Montana, producing images and poetry as a kind of life line amidst the existential crises of our time. He also enjoys the tasty body of work derived from a collaborative process between sun, rain, and the soil of his garden. You can find a selection of his visual work on his Instagram page.

Instagram _lukeorsborne