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Naqsh collective
About the Artists
Naqsh Collective was founded in 2009 in Amman, Jordan, by sisters Nisreen and Nermeen Abudail. The collective’s name hails from a tradition of engraving, and the sisters’ interests span various techniques such as calligraphy, embroidery and graphic design that express their artistic identities. Their aim is to explore and connect traditional motifs, stories and folklore, bringing these to a wider audience through design and artistic practices.
Nisreen Abudail (b. 1976, Amman, Jordan) initially trained as an architect and holds a bachelor’s degree in architecture from Jordan University of Science and Technology. Her interest is in the intersections between architecture, design and art. In 2004, she studied art at Corcoran School of the Arts & Design in Washington DC. She returned to Jordan in 2009.
Nermeen Abudail (b. 1980, Amman, Jordan) lives and works in Dubai. Her career in graphic design includes collaborations with leading agencies both locally and globally. In 2018, Naqsh Collective was a Jameel Prize 5 finalist at the Victoria & Albert Museum in London.
The sisters are inspired by Middle Eastern, especially Palestinian, patterns and motifs. These were a common sight when they were growing up in Jordan, adorning everything from women’s dresses to architectural ornamentation. The use of marble, wood and brass in the Naqsh Collective’s artworks highlights the durability of these materials and their power to leave a lasting legacy.
Courtesy the artists and Tabari Artspace
WORKS IN THE COLLECTION
Naqsh Collective, "Amulets", 2015
Industrial marble with brass, 29.5 × 29.5 cm
Courtesy the artists and Tabari Artspace
Amulets (2015) reflects the sisters’ ongoing interest in the language of embroidery, in terms of both the individual stitches and the whole piece. Local artisanship, design, mythology and industry are all combined in brass and marble to create the appearance of delicate needlework. Amulets presents a unity not only between the individual marks that make up the composition but also between the materials themselves.
Naqsh Collective, "Disc of Stars", 2015
Industrial marble with brass, 29.5 x 29.5 cm
Courtesy the artists and Tabari Artspace
Disc of Stars (2015) also employs a geometric, linear approach to reinvent pattern making. The work, illusionary in nature, gives an impression of incompleteness. However, upon closer inspection, the viewer can see the deliberate markings of shapes on the blank materials. Unfilled areas of brass tease the viewer with the existence of a larger plan of work, highlighting the collective’s unique ability to seamlessly bridge the gaps between two disparate concepts: fragility and industry.