15 october 2024, Yves Joris
The invisible reality of the image layer
Faryda Moumouh's solo exhibition Reconstructed Views challenges us to look beyond the surface and delve into what is hidden behind, not only in the images before us but also within ourselves. Taking a multidisciplinary approach that combines both photographic and plastic techniques, Moumouh (once again) explores the boundaries of perception and meaning. What she presents to us at Shoobil Gallery are not simple reproductions of reality, but layered representations that encourage reflection on identity, space and the complexity of human relationships. With each layer of material and fragment of image, our fascination grows for the elusive reality she strives to capture and reconstruct.
The fragmentation of perception
In Reconstructed Views, Moumouh’s work is filled with fragmented forms that both reveal and conceal. In the work Transcultural Layers, for example, in which a human figure, partially visible and partially hidden behind rectangular shapes, confuses our gaze and forces us to pause and reflect on what we are seeing. By blocking certain parts of the face, Moumouh emphasises the incompleteness of our perception. The image may refer to an unreachable identity or hidden history, a personal quest that cannot be revealed fully.
The contours in the background resemble maps, a subtle reference to geography, borders and how we define ourselves and others within certain frameworks. These lines may symbolically represent the personal and cultural boundaries that Moumouh transcends. She challenges us to think about how our identity is shaped by these geographical and social constructs. In this fragmented world, the viewer is tasked with piecing together the parts and in the process of reconstructing, we discover new perspectives. We become aware of the limitations of our ‘views’ and how much they are influenced by the context in which we are interacting.
The layered nature of reality
What makes Reconstructed Views so intriguing is the material layering that Moumouh adds to her work. She uses materials like tracing paper, Chinese ink and gold acrylic paint to make the images tangible and to make us aware of the physical aspects of reality. These interventions serve as a visual metaphor for how we perceive reality: always through multiple layers of interpretation and subjectivity. Photography, once seen as the ultimate mirror of reality, becomes in her hands a medium that distorts and reassembles this reality. This creates a new, subjective reality that no longer reflects the external world, but reveals Moumouh's inner world.
The use of tracing paper in her work is reminiscent of archaeological layers, as if each image is a historical find we must uncover layer by layer to discover its meaning. Like an archaeologist, Moumouh digs for hidden truths, for that invisible reality lying beneath the surface of the visible. What we see is only the tip of the iceberg – the rest we must reconstruct ourselves using our own experiences, interpretations and insights.
Identity in motion
In Moumouh's work, identity never seems fixed. It is more a dynamic process of constant reconstruction. Her images are not simply portraits or landscapes, but moments of self-reflection, a search for meaning in an ever-changing world. The alienation we feel when looking at her images is not necessarily negative, but an invitation to go beyond what we think we know. In a world where identity is often reduced to rigid categories like culture, ethnicity and nationality, Moumouh offers a more fluid vision. She shows us that identity, like her images, is always in motion, always being reconstructed by the experiences we gather and perspectives we adopt.
In her work, traditional cultural frameworks are exceeded. Moumouh positions herself outside these boundaries and creates her own unique voice, free from prejudice or societal expectations. It is this that independence makes her work so powerful: she invites the viewer to reconsider their own identity, free from rigid constructions. In her hands, the camera is not an instrument of capture, but of liberation, a tool to explore the fluidity of reality and human experience.
A visual dialogue with the world
Reconstructed Views is not just an exhibition of images; it is a profound dialogue between Moumouh and the world around her. She offers us no easy answers or clear messages, but asks us questions that we must answer ourselves. Her work is a constant invitation to reconstruct our own perceptions, to look deeper at what we see before us and to discover the hidden layers of our own reality.
In a time when images are often consumed without much thought, Moumouh forces us to pause, to take the time to look, reflect and reconstruct. Her exhibition is not only visually engaging, but also philosophically challenging. It confronts us with the inevitable fragmentation of our perception and challenges us to find new ways to make sense of a world that is constantly evolving.
In Reconstructed Views, the power lies not in what we immediately see but in what we discover as we dig deeper. It is an invitation to reconstruct our own perspectives, to look beyond the surface and to realise that reality always has more layers than we initially believe. Faryda Moumouh offers us not only new images, but new ways of looking – at her work, at ourselves and at the world around us.
