Clothing, whether truly traditional or the modern degradations of the older textile traditions, could also prove to be a source of materials for my own work.
My research will involve both academic research into contemporary and past art and craft practices in Saudi Arabia as well as an artistic exploration into the incorporation of unconventional materials into works relevant for today's society. I plan to use unconventional materials in my sculptures such as waste and discarded materials, leather, wood, plastic, and glass. This is the new point in my work, using materials that many people will not see as being properly the building materials of art. Making art that reclaims discarded materials will be one by which I will make work that is -- especially within the realm of Saudi expressive culture -- both innovative and disruptive. and, having drawn in observers through such innovation, I hope to get them to linger on the traditional elements of my pieces so that they will begin to question how materials, design, innovation, and tradition can be arranged in so many different ways.
One of the issues that I will be considering as I pursue this project is the ways in which public and private are designated in Saudi houses. The following describes a neo-traditional house that establishes this boundary in a traditional manner:
Al-'Udhaibat easily charms visitors with its gentle interplays among mass, textures, colors, light and shadow along with breezes and temperature. Like all traditional Najdi houses, it has smooth exterior walls of undecorated adobe plaster that belie a colorful interior. Plank doors and shutters are painted using traditional pattern designs & #8230;. intricate frescoes in carved gypsum plaster (juss) decorate walls and bright, handcrafted cushions and rugs furnish the courtyard and interiors with patterns based on deep reds that complement the ochre plaster walls.
At the entrance, the division between the public and the private realm is firm, which is traditional in Najd. A massive, intricately decorated door swings open toward the blank wall of the reception foyer, in the traditional "bent entrance" that obstructs views into the interior. The long, high-ceilinged main men's reception room, the diwaniyyah, is adjacent to this entrance, and can be entered without viewing the family quarters. It has the highest ceiling of all the seven rooms in the single-story house, and a row of white columns marches down its center. (Facey, 1999)
In my own work I will problematize such distinctions.
Decorative elements on buildings have traditionally been used as a way of both welcoming the guest and excluding the desert:
The decoration of space and facade is one of the most identifiable architectural features of the elite residential buildings in the central region of Saudi Arabia. The purpose of decoration and coloring is to attract viewer's attention and to enhance the aesthetic quality of space. The ornamentation of these houses is the product of an age of hospitality. A warm welcome and the best food and drink are complemented by an attractive space in which to entertain the guest. Decorated architectural elements include interior walls, alcoves and cupboards and the ornamentation and coloring of doors and windows in the guest reception area. (Saleh, 2001).
I would like the audience to see the echo of the past in the contemporary designs in my work, to be able to see that it is possible to interlace tradition and innovation like the layers on a cake. I see this project, both in terms of my scholarly examination of Saudi craft, artistic, and architectural practices and in terms of my creating a new body of work as being an essential and vital exercise for me as an artist. It is all too easy as an artist to find something that one is good at and then to continue doing it. There is both intellectual and technical safety in doing so. I do not want this to happen to me in my practice as an artist.
This body of work (and the work that comes before it) will be an act of clarification of my position as an artist. Such moments are crucial in the arc of every artist's biography: Every artist should learn how to define her own philosophy in order to be able to defend both to herself and to others the meaning and integrity of her work. Artists often speak of the intuitive -- even unspeakable because so amorphous -- aspects of their work.
These intuitive elements that run through work are essential. But it is just as essential if one wishes to grow as an artist to be able to articulate both one's process...
people commit acts of terrorism? At one level, this question is unanswerable in the same way child abuse and rape are incomprehensible. For people who do not believe that violence is ever acceptable except to defend oneself or other innocent people, it is impossible to fathom what would motivate people to harm innocent bystanders, an element in so much of terrorism. But, clearly -- given the number of terrorist acts
These include the following: Standardized human resource practices prevent the company from adapting to the local features Standardized human resource practices do not take into consideration the institutional differences of the various agencies of the multinational corporation Standardized human resource practices do not take into consideration different labor market regulations, which would have to be followed and which could also impact organizational outcomes Last, standardized human resource practices "may lead to a lack
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People and Talent Management The following work examines people and talent management and the importance that this has for today's organizations. The works reviewed in the study demonstrate the need for and the methods used in today's people and talent management. Reviewed is the work of Stockley (2011) as well as other various works that relate the processes and methods of people and talent management in today's organizations. Findings in this study
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