A thin wall divides Dalia’s life, it separates her residential space from her studio. At one end she is the woman performing regular household activities such as cleaning and dusting, on the other, she is the artist who experiments in her workspace. The proximity between the two disciplines blurs the borderline and incorporates the domestic in art making and vice versa. In her first solo at Galerie Janine Rubeiz, Baassiri explores her relationship with a persistent visitor who wears the same gray outfit everyday. Dust has always been the prolific, silent companion who overwhelms spaces. Consisting primarily of human skin cells, domestic dust also includes objects and food residues, textile fibers, car combustion, soil particles and many more depending on the components of a certain area. The longer it resides on a surface, the darker it gets. Hence, it is a compact granulated pigment indicating space and time. Once wiped, unique patterns are created suggesting a dialogue between the hand and the dust. Thus, the act of wiping becomes a means of communication between the wiper and the wiped, the painter and the pigment, the body and the powder, the whole and the particle.
In the body of work initiated at her recent dual residency in New York City and Utica NY, Baassiri, both the painter and the resident, investigates the materiality and properties of her own dust. By preserving all the stained wipes, she documents the ephemeral moments and materializes her relationship with the space she occupies. As soon as assembled, the wipes become a language depicting the customary elements surrounding her. The sky, the mountain, the sea, the crowd, the pigeons are all in constant motion allowing dust to circulate and clandestinely reach her. Thus the migrating dust is the eternal language of everyone, everything and everywhere. It is the beginning and the end of all material.