Abstract
Research Question:
How can a visual researcher address and respond to the personal impact of the current Syrian conflict and the inherent ideological battles within it without resorting to standard forms of war images?
I lost connection with home and family in Syria for a long time. Therefore, I decided to record my mother's voice the first time I had a chance to speak with her. The sound of violence around mom was louder than her voice and the call was interrupted and eventually disconnected. This video responds to the 52 seconds conversation
over Skype. It represents the motivation behind going into this subject in the first place; being drawn into communicating the personal stories of being in a war zone without having to show scenes involving violence. Although we can hear the sounds of war being clearly intensive, the video stands on its own as a result of that time, and my knowledge and state affected by the sudden ferocity in Syria. The sound of war as it existed in the piece remains a reference to the bigger picture and the broader context of the video; the lack of communication with affected people, the horror, the feelings of loss and confusion, the awaiting, and many other mixed feelings.
The visual language here is interpreting involved emotions supporting the video main goal, which is to celebrate, empower and translate emotions involved the story as an attempt to develop a unique perspective far from the clichés of violent images. Graphic and Arabesque shapes are representing my voice and mom’s voice, while the mixed feelings are represented using solid colours.
How can a visual researcher address and respond to the personal impact of the current Syrian conflict and the inherent ideological battles within it without resorting to standard forms of war images?
I lost connection with home and family in Syria for a long time. Therefore, I decided to record my mother's voice the first time I had a chance to speak with her. The sound of violence around mom was louder than her voice and the call was interrupted and eventually disconnected. This video responds to the 52 seconds conversation
over Skype. It represents the motivation behind going into this subject in the first place; being drawn into communicating the personal stories of being in a war zone without having to show scenes involving violence. Although we can hear the sounds of war being clearly intensive, the video stands on its own as a result of that time, and my knowledge and state affected by the sudden ferocity in Syria. The sound of war as it existed in the piece remains a reference to the bigger picture and the broader context of the video; the lack of communication with affected people, the horror, the feelings of loss and confusion, the awaiting, and many other mixed feelings.
The visual language here is interpreting involved emotions supporting the video main goal, which is to celebrate, empower and translate emotions involved the story as an attempt to develop a unique perspective far from the clichés of violent images. Graphic and Arabesque shapes are representing my voice and mom’s voice, while the mixed feelings are represented using solid colours.
| Original language | English |
|---|---|
| Media of output | Film |
| Publication status | Published - Jul 2015 |
Bibliographical note
The film has been screened in the following exhibitions and events:2018: May. Skype Call with Mum, Yale London Club, London
https://www.yale.org.uk/event-2912193
2017: Dec. Skype Call with Mum, Passion for Freedom Exhibition, London
https://www.passionforfreedom.art/artists-2/hala-georges_skype-call-with-mom/
2016: Feb-Mar, Skype Call with Mum, From Rochester with Love, Herbert Read Gallery, Canterbury
https://research.uca.ac.uk/3340/
2015: Oct. Skype Call with Mum, TIAF Festival, London
http://www.tiaf-london.co.uk/selected-artists-tiaf-london-2015/
It will also be screened at Goldsmith University in London followed by Q&A on 6th Feb 2020
