We sat down with Abed to talk about their experience as a Fellow at the International Residency:

Can you tell us a little about yourself and your work? 

I was born in a small Muslim village near the historic city of Nazareth and received my art education between Jerusalem, Tel Aviv, Berlin, and The United States. My sculpture practice in the last decade has been influenced by my journey between cultures, religions, and languages.

I work with cast objects, street signs, and industrial materials to explore the urban space and the way technological objects construct emotional and cultural shifts and alter our connection to our body, gender, and self. My installations link sexual dissatisfaction, shame, and Loneliness to the political power structure that reinforces such dynamics and produces them. I am interested in the history of the Arab world, specifically Palestine/Israel where I come from. I create installations that combine ceramics, concrete, and custom-made signs. The objects I incorporate into my work symbolize progress and globalization, they don’t have much locality, and they represent capitalist aesthetic unity.

You incorporate signage and typography in your work. What is the role of language in your practice?

I think about language from two different stances - content and visuals. I chose the texts that I use in my work after a long research process, many of these texts are texts that I was familiar with for the majority of my life, some of them I read as a child and then later as an adult and artist. Text is hard to work with in Installation because the moment the eye reads it, it cannot unread it, and it transforms the way viewers see the rest of the pieces in the space. I use text to highlight historical context, but I present it in a way that is not accessible to each eye. My multi-language signs are distorted and not immediately readable. I am interested in the gaps in understanding that my pieces reveal. Western viewers see Arabic calligraphy but they don’t know how readable it is for the Arabic reader and what are the cultural significance of the text. In a way, the signs reveal the impossibility of fully understanding each other.

Are there certain routines that you developed over your time at NARS? In the studio, or in the neighborhood, for example?

I spent the majority of my time living within walking distance from NARS in the Sunset Park neighborhood. I have enjoyed walking around the neighborhood and enjoying the spectacular sunsets at Sunset Park. I frequented several local restaurants, discovering hidden gems, including some excellent Chinese duck eateries that offered both affordability and delicious dishes. Additionally, I often visited the waterside near the Brooklyn Army Terminal, where I spent some time watching the breathtaking view of the Statue of Liberty. Regularly, I visited Brooklyn beaches easily accessible by train, such as Coney Island Beach. Moreover, I embarked on multiple drives to explore Long Island further and spend some of my Saturdays on the beaches.

What was a moment at NARS that stood out to you?

I think about language from two different stances - content and visuals. The first week felt very special, I really enjoyed the barbecue on the NARS roof, and generally, the feeling was very positive, and it reminded me of my first day of school.

How do you feel that the residency program and particularly the Fellowship influenced your practice?

I joined NARS two years after completing my MFA at VCU and continuing to reside in Richmond, VA. The NARS fellowship provided me the opportunity to spend time in NYC, where I engaged with a diverse cohort of fellow artists, learned significantly, and forged connections with art professionals and galleries.

For me, the fellowship served as a pivotal enabler for my participation in the program, facilitating a rich experience during my time in New York. While my focus wasn’t solely on studio work, I also utilized the program to foster connections, conduct research, and explore new avenues for my artistic practice.

I firmly believe that the residency program offers immense value for artists residing outside of New York City who seek to immerse themselves in the city’s vibrant art scene. I found our weekly meetings and group tours to galleries and art institutions enriching, fostering a collaborative environment where I gleaned valuable insights from my peers.

The residency held profound significance for me; beyond providing a studio space and a supportive community, it also afforded my work visibility. Through networking opportunities facilitated by NARS, I connected with art professionals and secured participation in three exhibitions—an outcome of the connections I cultivated during my time in the program. The open studio event and concluding exhibition were well attended by the artists from the neighborhood and a few curators who took the time to engage with my work.

Do you have any advice for future residency fellows?

I recommend bringing with you some of your most recent work, or at least a very good document. My studio was full of artwork from the first day of the residency, and it helped me get the best out of the studio visits that I got, especially the ones I had early in the residency before I had any new works I made during the residency time.

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