I, like in life; or like in light prevailing over dark; like in human being humbly (or with the arrogance of power) triumphing over nature; and even like the carefree bird following its set course. In Suha Shoman’s latest video art film, it is all together in a powerful, symbol-laden succession of images at the end of which the viewer remembers to breathe.
In a dark catacomb, the play of darkness and light and the accompanying shadows evokes life as it must have been at the beginning of creation. A thick, milky white ray of light is intersected by a transparent shaft tremulously meeting it at a point of refraction. Diaphanous at first, the timid ray slowly assumes material dimension, becomes an organic, living, breathing creature. Entrapped in the subterranean chamber, the beam of light moves, pulsates, disintegrates in an infinity of lines to the rhythm of a powerful gong-like staccato sound (maybe even of a vesper bell) that intensifies its being. Like an agonizing body, the writhing patterns become loose and then one again, in an amazing game that defies known laws and tantalizes regimented mind.
A lone bird flies around, trying to find its way in the scheme of things. Moments of quiet alternate with dramatic sounds masterly chosen to underline the image, enhance the meaning and keep in awe. Light dances, becomes water, is stagnant, then laps some unknown shores; at all times the beat of a huge heart is sensed or made tangible by the movement of light and the accompanying sound. Life is constantly felt, its physical presence clearly present or subliminally inferred.
Patterns of the most unexpected shapes give as many embodiments of life to light. Matter and form change constantly: light, water, smoke, water. At times the shapes are those of birds in flight, the solitary bird from the beginning becoming many others, all trying to fly away, break free from the darkness. The transformation is performed seamlessly, becoming the game of a creator enjoying himself at playing and making things happen.
The grey background initially perceived by trained senses as hard stone gradually assumes softness. Its grainy texture will soon appear like a sponge, living off the water and light washing over it. Or maybe corals, swaying in the water, organic matter brought to life by the quivering timid light that later sweeps over it forcefully, awakening it, making it part of the living universe.
The light rays intersect again, separate again, become one wide powerful beam gloriously surging up, above, to freedom, escaping the cavernous darkness that kept it prisoner below. With it, the lonely birds flies too, breaks away from the chain of darkness, asserts itself as the life that is “everywhere”.
The film lasts 8:36 minutes. It could be as long as the time of creation. Or as the time it takes the viewer to see and perceive meanings deeply hidden in the metaphoric images. It is, in a temporal sense, a fleeting moment in eternity, but it leaves behind more than an ephemeral impression. It talks about the artist’s philosophical approach, her roots to the land of the Nabataeans and all the civilizations that lived in this part of the world, with all their spiritual beliefs and contribution to humanity. It is an awakening of sorts, of life, senses and meanings.
Ica Wahbeh about the artwork "I Am Everywhere".