lumajasim.com
Artist BioLuma Jasim is an interdisciplinary artist from Baghdad, whose art deals with politics of war, violence, and her experiences with immigration; she is based in New York.
2017 MFA Fine Art Thesis Walkthrough- Luma Jasim from Parsons Art, Media & Technology on Vimeo.
I Hate You Oil, 2016, Performance
a performance in which I expressed myself through paint while telling stories from the war, sharing memories, and inviting people to listen. I used the personal to address the political and activating the viewer’s curiosity. Moving from the action of painting, I look towards the viewers and said, “Do you like to hear a story?” The immediate reaction I saw from the audience was excitement towards this unexpected invitation. They answered yes eagerly. From this performance, I learned different things about myself as a performer and about the audience. Telling stories was and still is one of the cultural traditions through out the Mesopotamian history.
Politics or Irony, 2017, Performance
In reaction to what we as American are facing an unprecedented time with regard to the political situation surrounding us, in particular with respect to our civil rights and the malicious rhetoric coming out of Washington; from this reality, this performance is to manifest the connection between politics and lies. How this fact affect many lives of nations and groups, especially with thinking of the possible outcome of the last election.
Politics or Irony, 2017, Performance
Long Term Vision I, 2017, acrylic and ink on canvas, 58x 58 in
one of a series of paintings as well as an animation projected onto the painting itself. This project is a reconstruction of thoughts and memories through a collage of fragmented visions. It deals, first, with the idea of displacement, immigration, refugees, and all the weight these things carry. The phenomena of social change due to war conflicts were people forced to flee their homes and immigrate to as far as a different continent. Second, it examines media manipulation and the loss of truth. Is there truth in the painted figure or in what is projected on it? Is it even a painting anymore?
The Only Choice, 2017, oil on canvas, 36x48 in
Freedom or Oil? I, 2015, motor oil, wood, and Aluminum
Freedom or Oil? II, 2015, motor oil, wood, plaster, tar, and Aluminum
What is next?, 2016, Mixed Media: plaster, tissue, transfer photo, tar, oil, motor oil, acrylic, charcoal, ink, and shellac on wood panel, 48x 48 in
Spyker Massacre, 2015, mixed media: acrylic, oil, tar, transfer image, ink, tissue, shellac, and charcoal
A metaphorical image to a massacre by Da'esh (ISIS) to around 1700 Iraqi student and solders in 2014. This mixed media been published in The Vassar's Review 2016, TRAUMA & TRÄUME
GO GO GO GO, 2016, Animation/video, 00:02:20
A wire sculpture animation to produce a poetic, narrative of birth and struggle in English and Arabic voiceovers. The use of two languages was not by translating the same text; instead, I used each one differently than the other. The Arabic voice was mainly telling stories from my memories. In the other hand the English voice brings a political abstract words.
Go Go Go GO from Luma Jasim on Vimeo.
A wire sculpture animation to produce a poetic, narrative of birth and struggle in English and Arabic voiceovers. The use of two languages was not by translating the same text; instead, I used each one differently than the other. The Arabic voice was mainly telling stories from my memories. In the other hand the English voice brings a political abstract words.
Artist StatementI was born in Baghdad, Iraq during the dictatorship of Saddam Hussein. I lived through three wars, an economic blockade, and the catastrophe of the U.S. invasion, and later, my immigration to the U.S. My multi-media body of work explores the relationship between violence, politics, gender, and emotional memory.
Long Term Vision is a series of paintings using ink and acrylic on canvas as well as an animation from the painting projected onto the painting itself. This project is a reconstruction of my thoughts and my memories through a collage of fragmented visions. It deals first with the idea of displacement, immigration, refugees, and all the weight it caries; second, it examines media manipulation and loss of truth. Is there truth in the painted figure or in what projected on it? Is it a painting anymore?
Recent projects involve the use of motor oil (symbolizing petroleum, the essential reason for all tragedies in Iraq and the Middle East), such as in the I Hate You Oil, a performance in which I expressed myself through paint: telling stories from the war, sharing memories, and inviting people to listen.
In another project Go Go Go, I animated a wire sculpture of a human body to produce a poetic narrative of a birth and struggle in English and Arabic voiceovers.