With the ongoing art-boom at Alserkal Avenue,  Lawrie Shabibi Gallery in Dubai announces Molding Anew, the debut solo exhibition of Iraqi artist Rand Abdul Jabbar. Curated by Meitha Almazrooei and running from November 1 to December 4, 2024, the exhibit explores the intersection of ancient Mesopotamian myths and modern narratives through diverse, tactile mediums. Abdul Jabbar, known for her recent work with Desert X Alula, builds her pieces around the concept of myth-making as a transformative form of cultural preservation, drawing from her Iraqi heritage.

Key works include Tracing Origins (2022), a collection of foil imprints inspired by ceramic reliefs from Iraq, encapsulating Abdul Jabbar’s exploration of personal and collective memory. Her Earthly Wonders, Celestial Beings series (2019–ongoing), featuring 50 intricate ceramic sculptures, delves into themes of fertility, vision, and wisdom, represented through symbols like palm trees, eye idols, and crowns. Another featured work,  ًﻟـــﯿﻜﻦ ﻣـــﺬﻛـــﻮرا (may it be remembered) (2023), meditates on Iraq’s Hatra city, symbolising cycles of memory and land-based legacy.

Complementing these sculptures is her latest series, Alphabet (2024), printed on linen, which translates her iconography into a symbolic language, bridging history with new interpretations. The exhibition’s design by Alejandro Stein frames the collection in a serial, layered manner, inviting visitors to encounter Abdul Jabbar’s world as a rich tapestry of cultural memory and re-imagination.

Considering the toyishness, fairy-tale-ness and seriousness of the exhibition and pieces I wanted to ask Rand some questions. Being so fascinated by older sculptures and artefacts since childhood, it was very curious to see where this idea of intersection of past and present came from. And so, Rand and I had a little chat.

— Your work often weaves ancient Mesopotamian mythology with contemporary narratives. How do you balance respect for the historical roots of these myths while allowing them to evolve into new forms through your sculptures?

— My work draws from the fragments of the past to reveal its lasting impacts and shed light on its untold histories. I am interested in the cyclical nature of history, and engage with mythology as a window into some of humanity’s elemental beliefs and attitudes towards life and the world around us. By weaving ancient and contemporary narratives, my work attempts to reinforce the threads that tie past and present in the continuum of human experience.

— You frequently use clay in your work, which you describe as holding memory and history. Can you elaborate on how this material choice influences your process of storytelling and how it connects to the themes of memory and preservation in your art?

— Clay has been used as a medium of creative expression in cultures all around the world for thousands of years. Perhaps its most striking quality is its ability to transform from a malleable state, easily shaped and manipulated by hand, into enduring objects of use and art. My personal affinity for clay is closely tied to the material culture of my birthplace, Iraq. My family moved when I was five years old, but my parents transplanted that sense of ‘home’ by surrounding us with the stories, rituals, and relics of our culture. As a child, I was particularly drawn to my mother’s collection of Iraqi ceramics as they served as portals to a place I longed for, but could only imagine. One of the aspects I enjoy about working with clay is that it connects me to those early experiences of childhood play and imagination.

— In Molding Anew, you explore myth-making as a method of preservation. Which Mesopotamian myths resonate with you personally?

— I have recently been exploring origin myths surrounding the planet Venus, particularly those associated with the ancient Mesopotamian goddess Inanna, or Ishtar. As the supreme female character in the Mesopotamian pantheon, she represented the enduring tensions of life and death, as well as love and war. Tales of the rise and disappearance of the so-called ‘morning and evening stars’ (now recognised as Venus) prompt us to reflect on the intertwined nature of life and loss. This is particularly resonant today as we search for hope that, in spite of all the violence and destruction being inflicted, justice will prevail, and renewal will be possible.

— In Molding Anew, you explore myth-making as a method of preservation. Which Mesopotamian myths resonate with you personally?

— I have recently been exploring origin myths surrounding the planet Venus, particularly those associated with the ancient Mesopotamian goddess Inanna, or Ishtar. As the supreme female character in the Mesopotamian pantheon, she represented the enduring tensions of life and death, as well as love and war. Tales of the rise and disappearance of the so-called ‘morning and evening stars’ (now recognised as Venus) prompt us to reflect on the intertwined nature of life and loss. This is particularly resonant today as we search for hope that, in spite of all the violence and destruction being inflicted, justice will prevail, and renewal will be possible.