A sequence of serendipitous connections happened recently around the art form khayamiya, the patterned Egyptian appliqué tent fabric I have been growing increasingly obsessed with in my work, and I must share!!! Story time! Settle in and enjoy!
My Khayamiya Journey
Photo taken at Ubuntu Gallery in Cairo, Egypt
My first exposure to khayamiya was at weddings I attended as a child in Egypt. Printed fabric panels simulating the intricate applique patterns found in hand sewn khayamiya were hung designating events as ceremonial. I saw rustic alleys transformed into festive spaces for music and dancing when the colorful tent fabric was hung. I now associate the fabric with celebration, the rhythmic patterns in the fabric remind me of the sound of tabla (drum) beats that would make it impossible to sit still, making you want to jump out of your seat and shake it during parties that would often go late into the night. To me khayamiya signifies pure joy.
Khayamiya textiles have now become part of my visual language, first in paintings where I used the patterns from the fabric to signify the sacredness of nature, and now in installations where I project meditative video onto translucent panels made of cut paper and silk simulating khayamiya to create sacred immersive healing spaces.
Fire + Water
Acrylic on wood
24x24”
What Remains
Hand-cut paper, acrylic, and charcoal on wood
37x71"
Water Blessing
Video projection on hand cut paper on silk
8.5x5’
As I’ve transitioned into creating the textile panels myself with non-traditional materials rather than painting the patterns, I find that I want to know more about the traditional art form of khayamiya. My research led me to a recently published gem of a book: The Tentmakers of Cairo, Egypt’s Medieval and Modern Applique Craft by Seif El Rashidi and Sam Bowker.
In my excitement at the discovery of this find, I posted about the book on Instagram which led me to search for the authors in that online space. To my delight, both authors were willing to connect! Sam Bowker and I chatted online and discovered I had previously purchased another book, The Ancient Art of Applique, Patterns from the Tentmakers of Cairo, that was co-authored by his mother, Jenny Bowker. Seif al Rashidi was then kind enough to meet with me via Zoom to discuss his knowledge of khayamiya. Our conversation was like opening a present! He shared language about the nature of khayamiya that completely resonated with the intentions I have for my new work: The khayamiya panels serve as “backdrops” to important events. They are “ephemeral” in that they temporarily transform spaces. They are a “modular system” and thus can be adapted to the size of the space they are to transform. The designs on the panels create “tessellations” creating one continuous design when hung together. I have been working with the concept of khayamiya in my paintings and video installations in cultural isolation in rural Oregon (though there has been support and a positive response to the work locally). Seif’s generosity with his knowledge and expertise as an Egyptian scholar was like being given a glass of water after years in the desert.
Cairo Connections
While this nourishing conversation was one fantastic khayamiya connection, the connections did not end there! Seif shared that he was curating a khayamiya exhibition, Reimagined Memories, at the Ubuntu Gallery in Cairo, Egypt at that time. While there was no way for me to attend with such short notice, I contacted my mother to see if she could make it (My parents live in Cairo). My mother is one of the reasons I became an artist. She attended art school and raised me to notice beauty in the world. She is also part of why I am intrigued by textiles, especially those that are handmade. She is a master embroiderer and is the queen of analogue. She never uses a sewing machine but instead imbues each piece she touches with sacredness through slowly and carefully stitching by hand, so connecting her to an exhibit featuring hand-appliquéd Khayamiya textiles was serendipitous. She was able to attend the opening (I made her promise to take pictures so I could live vicariously through her). In typical Egyptian fashion, Seif and the gallery owner of Ubuntu gallery showed great hospitality and generosity by giving her a personal tour. It was her first venture to a gallery since the pandemic had started, and she burst into tears upon viewing the exquisite work. She took a ton of photos and we debriefed via Facetime the next day, so I could hear all of the juicy details. In our conversation, we discovered another khayamiya connection! My mother realized she had seen a textile exhibit curated by Jenny Bowker in North Carolina years ago. The joy in our conversation was palpable which to me matches the true spirit of khayamiya: celebration.
My mother, Marilyn, and author and curator Seif El Rashidi at Ubuntu Gallery in Cairo, Egypt
Future dreaming
Within twenty days of purchasing the khayamiya book, connections were made with the authors, to my work, and with my family living in Egypt. And now, future connections are in the works! As my research of khayamiya continues, I am drawn to visit the Street of the Tentmakers in Cairo and study with khayamiya artists who are still hand sewing these exquisite appliqué panels. Seif has offered to be my guide and connect me with artists when I am next able to visit Cairo. For me the ultimate future connection would be to exhibit my video installations that incorporate khayamiya in Egypt, finally having my art physically placed in the country that is half of my cultural heritage. I am excited at the opportunities for deepening connection to and understanding of this beautiful art form and for the possibilities for growth in my own work.
Thanks for reading this far and sharing in my delight at this serendipitous sequence of events! I’m so excited to see what’s next!