Diana Al-Hadid

Perry Rubenstein Gallery, New York
Acquired directly from the above by the present owner in 2008

Los Angeles, Perry Rubenstein, Diana Al-Hadid: Reverse Collider, 2008
London, Saatchi Gallery, Unveiled: New Art from the Middle East, 2009          
Boden, Havremagasinet, REORIENTATED, 2012

Exhibition Catalogue, London, Saatchi Gallery, Unveiled: New Art from the Middle East, 2009, n.p., no. 4, illustrated in colour

Condition: This work is in good condition. The surface imperfections, few cracks and discolouration are all in keeping with the artist's chosen medium, working process and the originality of the piece. Colour: The colours in the catalogue illustration are accurate; although, the overall tonality has a hint of grey in the actual work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Merging construction and the deconstruction of objects and space, Diana Al-Hadid structures recall ruined architectural forms, crumbling buildings and collapsing sculptures that represent the consequences of humanity’s gluttony and superfluous ego ultimately leading to its demise. This concept was the central influence for Self Melt artwork which is based on the iconic Pieter Brueghel the Elder’s 1563 painting, The Tower of Babel. Presented upside down in the present work, the ziggurat becomes an inverted form, comparable to an hourglass turning back time, suggesting a reversal of cultural diaspora. Through its crude and rudimentary appearance, Self Melt points to a mythological point of origin, where diversity and its consequences are supernaturally inevitable.

Al-Hadid has closely studied classic painting styles including Baroque and Gothic. Her influences are wide ranging, common themes are drawn from ancient folklore tales, fables, mythological legends and stories from Biblical scriptures which she reinterprets to fuse with influences derived from Islamic art and Roman sculptures. More recently, her inspiration derives from physical and astronomical discoveries.

Her process of creation is an amalgamation of strict mathematical architectural formulas, applied and sculpted with a vibrant poetic narrative. Her varying use of materials and mediums enables her to construct monumentally striking structures. Self Melt is an extraordinary example of Al-Hadid’s sheer talent, exemplifying her ingenious use of various materials and mediums. An innovative pioneer in a fresh avenue of contemporary art from the Middle East, the artist successfully combines an array of current social topics and deft craftmanship resulting in fantastically ethereal structures such as the present work, which is truly a unique and monumental art piece.