Through film, photography, and sculpture, Tawakol reclaims the female body as a site of creation and resistance, reflecting on motherhood and the complex layers of identity. This exhibition\u2019s centrepiece is a three-channel video made from stitched Super-8 film fragments (1960s\u20131980s) which portray three maternal figures: Tawakol’s mother, Honey, her grandmother, Toutou, and her nanny, Hosneia. Each channel reveals intimate narratives, from Honey\u2019s complex personality to Toutou\u2019s pivotal role in raising Tawakol and Hosneia\u2019s nurturing presence.<\/p>\n
In the series Fragments of Return<\/em> (2024\u201325), black-and-white photographs from the artist\u2019s family archives were manipulated by incisions backed with vibrant, almost metallic-gleam colours, and tattoo-like interventions. Studio portraits or holiday snaps are overlaid with snake, shell, or flower motifs, exploring identity and resistance. Sculptural works like Lure<\/em> (2024) and Nude<\/em> (2025) reference femininity, fertility, and control; Hair<\/em> (2011-14) and Warrior<\/em> (2010) redefine hair as a symbol of strength and defiance.<\/p>\n To \u00a028 March.<\/p>\n Right: My Mothers (2025, still from three-channel video)<\/em><\/p>\n <\/p>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"