Home is a foreign place

 

The word ‘Home’, is attributed to a place of comfort-a place which is familiar to us in every aspect but Zarina Hashmi, titles her work, ‘Home is a foreign place’. Most of her works, like, ‘Dividing Lines’, ‘Cities I Called Home’ and ‘Home is a Foreign Place’ deal with the issues of displacement due to partition or new boundaries being created. Apart from displacement she also works with the themes of memory and traveling. Although these themes are the central focus of many other artists’ works, Zarina Hashmi is significantly known for it. The art work chosen to be discussed in this paper is titled, ‘Home is a Foreign Place’.

Zarina’s works are like her personal journal reflecting the events of her life as she travels to different places. The effects of this dislocation are brought forward through very refined mesh of diagrams and maps which capture the memory of an event, an emotion, a place and its ambiance.  In an interview, while talking about her work Zarina says:

“I was born and grew up in India; my eye was trained by what I saw around me. The last fifty years I have spent looking at other cultures, I have learned a lot from those encounters. Nevertheless, I have emotionally come back to where I started. I consider myself a contemporary artist, like many others artists of my generation who were born in one place and live in other places. My work is a synthesis of all the traditions I passed through.” 

This specific work comprises of 36 different remnants of memory depicted on wood and placed together as a wall installation. The fragments of her memory emanate a strong feeling of nostalgia. There is a presence of emptiness in these simple linear drawings.  Trained in printmaking, Zarina uses this technique on both paper and wood, which she herself carves. Wood is an interesting medium to be used as it is a largely used material in our homes-it is a part of the basic structure of a house. Wood makes one feel nostalgic as the smell and the feel of the surface makes one travel into a different time and place. On the other hand, even though paper is not a very durable material but it is used for mapping and tracking history.  In a way, Zarina Hashmi is tracing her own history with places she has lived in, through her drawings; mapping them and installing them together as she remembers them in fragments just like parts of memories are remembered and associated with certain places. There is a connection between all her works-they follow the same path created by her web of drawings.  Although, her drawings are minimalist, they reflect emotions and strong expressions. The bold black ink lines say much more than a busy painting, the feeling of loss being dominant in all of these works. The impact of the India-Pakistan partition is predominantly reflected in her works. Her work is a great example of an art work that reflects feelings of both physical and mental displacement, memory, traveling and nostalgia in a very refined and minimalist way-her use of monochromatic ink expresses emotions much more dynamically than an array of vibrant colors.

 

Memories

Memories of our pasts live with us in fragments, throughout our present. Our homes are consumed by our memories just like a closet holds our secrets together serving as a recollection of overlapping reminiscences of our past and present. Fragments of our memories help is gain a better understanding o our past experiences both individually and collectively. We tend to relate these memories to a certain place or space that we inhabited at that time.
Remembering and forgetting, remembering and filling the missing gaps become a part of us. This relationship between past and present helps in conceptualizing spaces and places to achieve perfection in them.

Public space

My private time in a public space...

Home

It is in the human nature to feel a sense of belonging to a certain space-a space that they can refer to as 'home'. It is not just a need for human beings but animals also tend to be protective of the spaces they inhabit. Our identities are place- bound being defined by the places we dwell in. A nation is known by its country, a community by the are it lives in and an individual, by his own personal space.

The spaces that we tend to spend most of our time in are consumed by our presence in many ways, mirroring several shades of our personalities. It is difficult to define one particular space as 'home'. Home is a place that overwhelms us with the feeling of nostalgia-we share our memories with it and our secrets too-holding fragments of our past and present together in one place. This space is the most honest reflection of our self. The objects and furniture a enclosed within these spaces, portray our presence.

Vicky Ambery Smith

British Jewellery Designer, Vicky Ambery Smith creates delicate and small-scale ornate boxes and jewellery inspired by real and imaginary buildings. By replicating these buildings in miniature forms she creates an interesting study of space and light. It gives her work a personal character allowing the viewer to create their own narrative behind each piece. 

Brooches

   

Earrings

 

Rings

 

  

 

  

 

Boxes

 

  

Creating spaces of memory

Silent film actress, Colleen Moore got much more fame through a dollhouse, than she did from her film career.

For a collector—and I mean a real collector, a collector as he
ought to be—ownership is the most intimate relationship that
one can have with objects. Not that they come alive in him; it is
he who lives in them.
—Walter Benjamin, Illuminations

The dollhouse was created by the actress and her father, over a time period of seven years. Now known as 'Colleen Moore's Fairy Castle', the dollhouse traveled throughout the United States and Canada in the 1930s to raise money for charity. Since then it has been a popular attraction at Chicago Museum of Science and Industry.It has been discussed as a historical narrative as it is considered a remnant of a particular time and place.

The dollhouse has two dominant motifs: wealth and nostalgia. It presents a myriad of perfect objects that are, as signifiers, often affordable, whereas the signified is not. . . . Use value is transformed into display value here. Even the most basic use of the toy object—to be “played with”—is not often found in the world of the dollhouse. The dollhouse is consumed by the eye. 

-Susan Stewart

  

Details of the dollhouse

The artist used her personal belongings like her hat pins and diamond rings, in the interior of the dollhouse.Amelie Hastie states in her article about the dollhouse that Moore anticipates both the loss of her history and eventual retrieval of it through this dollhouse, inviting the historian to reawaken and re-present the various relations preserved in this collection.

As Stewart notes, a dollhouse is not a toy to be played with; rather, it “is consumed by the eye.” Certainly this definition would not apply to most dollhouses—those owned by families and not housed in museums—for those toys have a real tactility, and their function is to be played with as well as to produce certain narratives about the “home.”