Ahmed Al-Assar

Born 1997, in Nuseirat, Gaza

Displaced in Nuseirat

In his project Harvest, artist Ahmed Al-Assar presents a body of work that explores the events of the war in Gaza from its cultural, historical, and social dimensions. The work focuses on the darkest moments and the extent of suffering experienced by the people of Gaza, depicting the profound impact of these events on the reality of the strip and its inhabitants. By tracing the events and situations during the war and their aftermaths, Al-Assar highlights the experience of Gaza’s residents under genocide.

Ahmed Al-Assar’s exhibition, Harvest, presents a collection of works describing events of the war in Gaza from cultural, historical, and social perspectives. It traces the impact of these events on the local community. “Harvest” focuses on the stark details and immense suffering endured by the people of Gaza through a cohesive representational style. Al-Assar believes visual art can shed light on the events that have affected life in Gaza so drastically. His work is a form of deep reflection on the events and experiences of genocide and their implications.

A key work of the exhibition is a ‘re-telling’ of Vermeer’s Girl With a Pearl Earring which hangs in the Hague. This work asks the ultimate question of art and beauty: what beauty can survive the total denial of humanity. Vermeer’s Girl loses all value if humanity is considered disposable. Her portrait stands as a pinnacle of Western art, claiming an aesthetic power at the height of human achievement. And it is no doubt for this she found her home in The Hague, the custodian of Western values. In Al-Assar’s Pearl of Departure the ghost of Vermeer’s Girl haunts a young woman subjected to a brutal injustice because she is Palestinian and from Gaza. Whether Harvest’s Pearl of Departure will be presented in or near the Hague is yet to be determined. But it seems Vermeer’s Girl is meaningless without her.

Fiery Plea (استغاثة نارية)

A woman is praying with a distorted face, pleading not to die amidst the burning rubble. They lie on the gravel, extinguishing the heat of their exhausted bodies with the blood of children, while their prayers and collective anguish extinguish the fire rising to the sky, escaping towards a fated end in their sacred land.

Pearl of Departure (لؤلؤة الرحيل)

No time for farewell and longing; a cloud that knows no departure. Peace be upon us when we leave forcibly and are betrayed treacherously, and peace be upon us in death as we return. This artwork captures the poignant essence of forced separation and the deep sense of longing that accompanies it. It reflects on the theme of departure, where the cloud symbolizes the heaviness of loss, highlighting the painful reality of leaving without a choice. The phrase “Peace be upon us as we leave forcibly and are treacherously killed” encapsulates the struggle and resilience of those affected by conflict, while also hinting at the hope of return, despite the surrounding despair.

It is Not Enough, It Does Not Fit (انه ال يتسع إنه لا يتسع)

This artwork embodies the overwhelming feeling of confinement and despair experienced in times of crisis. It reflects the constant waiting for relief and the anxiety of not knowing when help will arrive. The imagery evokes a sense of collective suffering, emphasizing the shared experience of loss and the inevitability of mortality in such circumstances. The poignant question, “How long must we wait for mercy?” resonates deeply, capturing the urgency of those trapped in situations of conflict.

No space for me or for them. We wait for the mercy cart. Hasn’t it arrived yet, or is there still much more to come? How long, how long must we endure death together and say it has come?

Guest on My Mother’s Chest (ضيف على صدر امي)

This piece explores the intimate and vulnerable relationship between a mother and her child in the context of trauma and loss. It symbolizes the warmth and protection a mother provides, juxtaposed with the harsh realities of conflict and displacement. The imagery conveys a deep sense of longing and the innocence of childhood amidst chaos, illustrating how the bond between mother and child can be a refuge in times of turmoil.

Ahmed Al-Assar has worked as a course trainer at the Al-Marsam Al-Hurr Foundation for over two years under the supervision of Professor Fares Iass. Possesses three years of extensive experience in digital character design. Participated in numerous local and international exhibitions and art workshops, including the TVT international exhibition and several workshops such as the cartoon sculpture workshop at Dar Al-Kalima with Professor Mohammed Al-Hajj in 2022, and a workshop on sculpture art with Professor Rana Al-Batrawi in the same year. Won second place in the best digital character design competition at Ain Shams University in 2018. Achieved first place for designing the university logo in 2018 at Palestine Technical University. Organized a solo exhibition commemorating Land Day at Al-Azhar University and the Islamic University in Gaza in 2018. Has a strong interest in surrealism and expressionism.