https://www.uni-weimar.de/kunst-und-gestaltung/wiki/api.php?action=feedcontributions&feedformat=atom&user=Sabah+Elhadid 2026-06-19T19:40:13Z User contributions MediaWiki 1.39.6 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142487 2026-05-16T17:54:08Z

<p>Sabah Elhadid: /* [FLUTEN] Group Exhibtion-Glaswerk */</p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|741x741px]]<br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|671x671px]]<br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged).jpg|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|767x767px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|thumb|1073x1073px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142486 2026-05-16T17:53:44Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|741x741px]]<br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|671x671px]]<br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged).jpg|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|767x767px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|thumb|1073x1073px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142485 2026-05-16T17:53:31Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|741x741px]]<br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|671x671px]]<br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged).jpg|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|767x767px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|thumb|1073x1073px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142484 2026-05-16T17:50:49Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|thumb|1073x1073px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142483 2026-05-16T17:48:59Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [FLUTEN] Group Exhibtion-Glaswerk<br /> <br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142482 2026-05-16T17:47:58Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142481 2026-05-16T17:47:36Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142480 2026-05-16T17:47:21Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|708x708px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142479 2026-05-16T17:46:37Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px|none]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|706x706px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142478 2026-05-16T17:46:14Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px|none]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|666x666px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142477 2026-05-16T14:45:16Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1307x1307px]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|656x656px|none]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|left|thumb|737x737px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142476 2026-05-16T14:32:14Z

<p>Sabah Elhadid: </p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|thumb|1151x1151px|left]][[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1109x1109px|[[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|994x994px|left]]]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> === [FLUTEN] Group Exhibtion-Glaswerk ===<br /> [[File:Bend to Hold .jpg|left|thumb|1152x1152px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Holding The 'Hold'.png|left|thumb|708x708px]]<br /> [[File:Bend to Hold.jpg|thumb|705x705px|Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (10).jpg|left|thumb|1059x1059px|Bend to Hold - Visual Archive Classification (1) Photo: Peechana Chayochaichana]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (23).jpg|left|thumb|559x559px|Photo: Peechana Chayochaichana]]<br /> [[File:Classification 8.jpg|thumb|456x456px|Visual Archive - Classification 8]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Bend to Hold (5).jpg|left|thumb|1066x1066px|Visual Archive - Classification 5 Photo: Peechana Chayochaichana]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Bend_to_Hold_(5).jpg&diff=142475 2026-05-16T14:29:44Z

<p>Sabah Elhadid: </p> <hr /> <div>Visual Archive - Classification 5<br /> Photo: Peechana Chayochaichana</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Classification_8.jpg&diff=142474 2026-05-16T14:27:23Z

<p>Sabah Elhadid: </p> <hr /> <div>Visual Archive - Classification 8</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Bend_to_Hold_(23).jpg&diff=142473 2026-05-16T14:25:24Z

<p>Sabah Elhadid: </p> <hr /> <div>Photo: Peechana Chayochaichana</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Bend_to_Hold_(10).jpg&diff=142472 2026-05-16T14:23:33Z

<p>Sabah Elhadid: </p> <hr /> <div>Bend to Hold - Visual Archive Classification (1)<br /> Photo: Peechana Chayochaichana</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Bend_to_Hold.jpg&diff=142469 2026-05-16T14:15:17Z

<p>Sabah Elhadid: Blanked the page</p> <hr /> <div></div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Holding_The_%27Hold%27.png&diff=142468 2026-05-16T14:06:41Z

<p>Sabah Elhadid: </p> <hr /> <div>Holding The 'Hold'</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Bend_to_Hold.jpg&diff=142467 2026-05-16T14:01:49Z

<p>Sabah Elhadid: </p> <hr /> <div>Photo: Peechana Chayochaichana</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Holding_3.jpg&diff=142466 2026-05-16T13:58:35Z

<p>Sabah Elhadid: </p> <hr /> <div>Glaswerk Exhibition [Fluten]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Bend_to_Hold_.jpg&diff=142465 2026-05-16T13:56:06Z

<p>Sabah Elhadid: </p> <hr /> <div>Photo: Peechana Chayochaichana</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sabah_Abouelhadid&diff=142464 2026-05-16T13:43:13Z

<p>Sabah Elhadid: Created page with &quot;== Bend To Hold: A Dialogue Between Flesh Water and Form == In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. PHASE 1: I...&quot;</p> <hr /> <div>== Bend To Hold: A Dialogue Between Flesh Water and Form ==<br /> In this work I would like to focus on the intimate, ephemeral relationship between the human body and water, focusing on the gestures, forms, and movements we make to hold, carry, and contain it. Water, ever-shifting and formless: a cupped hand, a bowed shoulder, a curved spine. I’m drawn to these instinctive motions, the ways we shape ourselves into vessels, however briefly, to gather or receive. <br /> <br /> PHASE 1: INSTINCTUAL GESTURES In the first phase of the project, I observe and interpret the body's natural language of movement with water: the curve of two hands joined to drink, the subtle dip of collarbones where droplets pool, the hollow of a palm or the crease behind a knee. These fleeting interactions are translated into ceramic sculptures, preserved impressions of motion and touch, of containment and release. The body becomes a container; the ceramics, a fossilization of gesture. <br /> <br /> PHASE 2: CHALLENGED GESTURES - PARADOX In the second phase - I want to explore a paradox. Internally, we are containers, our bodies full of fluids, breath, blood, rhythm. But externally, we attempt to become vessels through posture and motion, mimicking the role of a container we already are. We are shaped for water on the inside, yet we still mold ourselves around it on the outside. This sculptural dialogue questions how we perceive water: as something bendable, obedient, shaped by us. It flows where we allow it, stops where we block it. But what if the body was no longer soft, no longer adaptable? I would like to create bodily extensions—ceramic forms that exaggerate or interrupt the gesture, forms that challenge movement rather than accommodate it. These works propose another reality, where we confront the limits of our own flexibility, and the illusion of control over something as fluid as water begins to fracture. In this context we bow and bend for water and not the other way around. -<br /> <br /> &lt;nowiki&gt;**&lt;/nowiki&gt;Reason why I chose ceramics as vessel extension to ourself: Across various mythologies and religions, the human form is said to have emerged from clay, malleable, earthen, shaped by higher hands. The sculptural vessels are not just records of movement, but also subtle returns to our own origin material. Through this work, I aim to ask: What does it mean to hold something that cannot be held? How do we choreograph ourselves around that which refuses to be fixed? And how can we make permanent the gestures we perform to keep it, even for a moment?<br /> <br /> === PROCESS ===<br /> <br /> <br /> [[File:Abouelhadid, Sabah 1.jpg|left|frameless|1017x1017px|Ceramics Process on Gestures]]<br /> [[File:Abouelhadid, Sabah .jpg|frameless|1054x1054px]]<br /> [[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM .jpg|thumb|1151x1151px]][[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1109x1109px|[[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|994x994px|[[File:VESSEL VOCABLURY.jpg|left|thumb|1098x1098px]]]][[File:A DIALOGUE BETWEEN FLESH WATER &amp; FORM.jpg|left|thumb|898x898px|[[File:VESSEL VOCABLURY (dragged).jpg|left|thumb|1109x1109px|[[File:VESSEL VOCABLURY (dragged) 3.jpg|thumb|994x994px|[[File:VESSEL VOCABLURY.jpg|left|thumb|1098x1098px]]]]]]]]]]]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:VESSEL_VOCABLURY.jpg&diff=142463 2026-05-16T13:21:29Z

<p>Sabah Elhadid: </p> <hr /> <div>Sketches</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:VESSEL_VOCABLURY_(dragged)_3.jpg&diff=142462 2026-05-16T13:20:00Z

<p>Sabah Elhadid: </p> <hr /> <div>Sketches</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:VESSEL_VOCABLURY_(dragged).jpg&diff=142461 2026-05-16T13:18:40Z

<p>Sabah Elhadid: </p> <hr /> <div>Sketches</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:A_DIALOGUE_BETWEEN_FLESH_WATER_%26_FORM_.jpg&diff=142460 2026-05-16T13:17:38Z

<p>Sabah Elhadid: </p> <hr /> <div>Ceramic Process</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:A_DIALOGUE_BETWEEN_FLESH_WATER_%26_FORM_2.jpg&diff=142459 2026-05-16T13:02:37Z

<p>Sabah Elhadid: </p> <hr /> <div>Ceramics Process</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:A_DIALOGUE_BETWEEN_FLESH_WATER_%26_FORM.jpg&diff=142458 2026-05-16T13:01:16Z

<p>Sabah Elhadid: </p> <hr /> <div>Ceramics Process</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Collection_of_gestures_as_a_container..jpg&diff=142457 2026-05-16T12:48:12Z

<p>Sabah Elhadid: </p> <hr /> <div>Ceramics Process on Gestures.</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Abouelhadid,_Sabah_.jpg&diff=142456 2026-05-16T12:46:33Z

<p>Sabah Elhadid: </p> <hr /> <div>Ceramics Process on Gestures</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Abouelhadid,_Sabah_1.jpg&diff=142455 2026-05-16T12:45:34Z

<p>Sabah Elhadid: </p> <hr /> <div>Ceramics Process on Gestures.</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=DataNatures&diff=141856 2025-11-11T10:29:45Z

<p>Sabah Elhadid: </p> <hr /> <div>''Type: ''Project Module<br /> <br /> ''Lecturer: ''Verena Friedrich<br /> <br /> ''Credits: ''18 SWS<br /> <br /> ''Times: ''Tuesday 10:00 - 13:00<br /> <br /> ''Venue: ''DBL &amp; online <br /> <br /> ''First meeting: ''October 21, 10:00 @ DBL<br /> <br /> '''Description:'''<br /> <br /> In the science fiction film Tron (1982), an orange is scanned by a laser beam in order to be transferred into a virtual computer world. At the end of this “Matter Transform Sequence”, the orange has disappeared—its digital image appears on the screen instead. The promise of this fictional technology: the total capture and modeling of the bio-logical world, in order to make it manipulable, controllable, and available at will on a data-logical level.<br /> <br /> Some four decades later, the methods and scope of data collection, processing, and storage have developed at a rapid pace. Increasingly large parts of the world and of our everyday lives are being digitized and incorporated into technical infrastructures, to the point that one can speak of a “datafication of everything.” Yet have we really come closer to the techno-utopia of the world’s complete capture?<br /> <br /> Does not the sheer abundance of data itself show that certain aspects of the world and of “nature” always remain fleeting—immeasurable, unavailable, and resistant to any form of technical appropriation? Or is this, after all, merely a romantic notion that can no longer stand up to the effectiveness of Big Tech? How do we, as human beings and as artists, engage with the current situation? Can artistic practices open up alternatives to a purely technocratic handling of data?<br /> <br /> The seminar investigates these questions from artistic, technical, practical, and theoretical perspectives. Following a general introduction to the topic, we will discuss artistic works and read selected texts in order to critically engage with the increasing quantification and datafication of the world. In practical workshops, we will do statistics with pen and paper and explore basic methods of collecting, ordering, counting, and classifying biological samples. From there, we will trace the path toward today’s computer-based (classification) procedures grounded in machine learning and data-driven research in science. Hovering above all of this is the question of the relationship between materiality and digitality: what continuities persist, and what ruptures emerge?<br /> <br /> The aim is to develop independent project ideas and realizations that engage artistically and experimentally with specific aspects of the theme DataNatures.<br /> <br /> ==== Students ====<br /> <br /> * [[Sabah Abouelhadid]]<br /> * [[Timm Albers]]<br /> * [[Seoyeon Lee]]<br /> * [[Olga Molzan]]<br /> * [[Henriette Schmidt]]<br /> * [[Konstantin Schoser]]<br /> <br /> ==== Materials ====<br /> <br /> [[DataNatures – Literature]]<br /> <br /> [[DataNatures – Artists &amp; Artworks]]<br /> <br /> ==== Schedule ====</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Wetlands&diff=141839 2025-11-05T21:54:09Z

<p>Sabah Elhadid: /* BUW */</p> <hr /> <div>=== Fieldwork ===<br /> * January 12-16th 2026, Psachna, Greece<br /> <br /> === Online sessions ===<br /> Please join at https://us06web.zoom.us/j/88147828394?pwd=4XFVLT1jP4PBDOEgZNVK3bLr4U2q0T.1<br /> <br /> 9:00-12:00 Berlin time<br /> &lt;br&gt;10:00-13:00 Helsinki/Athens time<br /> <br /> * October 27th 2025: [[/Narrating the waters: Curatorial and Dramaturgical Perspectives]], led by Prof. Angeliki Poulou<br /> * November 3rd 2025: [[/Interdisciplinary research and artistic practice: from sketch to interactive installation]], led by Dr. Mindaugas Gapševičius<br /> * November 7th 2025: [[/Liquid flows and wet matter in Art &amp; Science: Micro + Macro]], led by Prof. Laura Beloff<br /> * January 7th 2026: [[/Questions and Answers]]<br /> <br /> === Faculty ===<br /> * Prof. Angeliki Poulou, National and Kapodistrian University of Athens<br /> * Prof. Laura Beloff, Aalto University<br /> * Prof. Kerstin Ergenzinger, Bauhaus Universität Weimar<br /> * Prof. Ursula Damm, Bauhaus Universität Weimar<br /> * Dr. Mindaugas Gapševičius, Bauhaus Universität Weimar<br /> * Felix Bonowski, Bauhaus Universität Weimar<br /> * Prof. Dimitris Charitos, National and Kapodistrian University of Athens<br /> * Prof. Alexandros Kontogeorgakopoulos, National and Kapodistrian University of Athens<br /> * Prof. Katerina Antonopoulou, National and Kapodistrian University of Athens<br /> * Prof. Orestis Karamanlis, National and Kapodistrian University of Athens<br /> * Prof. Haris Rizopoulos, National and Kapodistrian University of Athens<br /> * Prof. Nafisika Papageorgiou, National and Kapodistrian University of Athens<br /> <br /> ===Other Faculty===<br /> * Iouiani Theona, Adjunct Professor, National and Kapodistrian University of Athens<br /> * Chloe Pare-Anastasiadou, Post-dc researcher, Max Planche Institute <br /> * Anna Pangalou, voice soloist performative artist<br /> * Tanya Zervoudaki, marine biologist, Hellenic Centre for Marine Research<br /> * Maria Koutsodimou, marine biologist, Hellenic Centre for Marine Research<br /> * Dimitris Pafras, phd candidate in Marine Biology, Scientific Diver<br /> * Petros Andreas Tiktapanidis, phd candidate in Marine Biology, Scientific Diver<br /> <br /> <br /> <br /> The course investigates the intersection of art, science, and ecology through interdisciplinary research and artistic practice. Focusing on aquatic ecosystems, participants will develop artistic projects and embodied sensory experiences. Field work will take place in Psachna, Greece, with particular attention to the Kolovrechtis Wetland and the Chalcis Strait.<br /> <br /> Students will engage with a variety of artistic and research methodologies - including storytelling, creative writing, interactive installations, and scientific approaches. The course fosters both experimental and reflective modes of knowledge production, supporting dialogue between disciplines and encouraging the development of new collaborations across ecology, digital media, and contemporary art.<br /> <br /> Through embodied research, we will explore the ecological, generative, and disruptive dimensions of sensory perceptions - listening, seeing, smelling, tasting, touching, and beyond. Participants will be invited to:<br /> * Develop curatorial, dramaturgical, or theoretical perspectives on aquatic environments;<br /> * Create interactive installations as tools of artistic inquiry and as platforms to reimagine ecological interdependencies beyond human-centered perspectives;<br /> * Critically examine technology, its entanglements with ecology, and its role in the climate crisis.<br /> <br /> During the field work, students are expected to develop a small project, a prototype, or a component of a larger project. Emphasis will be placed on shared discussions, informed by lectures and supervision. Each participant (individually or in groups) will present their project at the end of the week and document it on a shared wiki platform.<br /> <br /> The course is coordinated by the Acoustic Ecologies and Media Environments departments at Bauhaus Universität Weimar, hosted by DCARTS of the National and Kapodistrian University of Athens, with participation of the Department of Art and Media at Aalto University. It is offered within the framework of the Erasmus Blended Intensive Program and carries 6 ECTS credits.<br /> <br /> === Students ===<br /> ==== AALTO ====<br /> *[[/Agnieszka Pokrywka]] (Doctoral student)<br /> *[[/Mari Nurmeniemi|/Mari Nurmenniemi]] (Master students)<br /> *[[/Atso Airola]] (Master student)<br /> *[[/Müge Yildiz]] (Doctoral student)<br /> *[[/Alexia Coville]] (Master student)<br /> <br /> ====BUW====<br /> *[[/Lilas Almalla]]<br /> *[[/Tim Auzinger]]<br /> *[[/Laura Eleana Bein]]<br /> *[[GMU:Wetlands/ Sabah Abouelhadid|/Sabah Abouelhadid]] <br /> *[[/Zakhar Komarov-Zelinskii]]<br /> *[[/Viviane Morais Dantas]]<br /> *[[/Jan Laurenz Munske]] (Bachelor student)<br /> *[[/Radu Paul Simon Reinhardt]]<br /> *[[/Cosmo Niklas Schüppel]] (Bachelor student)<br /> *[[/Wiebke Stark]]<br /> *[[/Cristina Garcia Margarita]]<br /> <br /> ====NKUA====<br /> *[[/Anna-Maria Galani]] (PhD student)<br /> *[[/Alexandra Niaka]] (PhD student)<br /> *[[/Elena Novakovits]] (PhD student)<br /> *[[/Aria Saridi]] (PhD student)<br /> *[[/Yiannis Kranidiotis]] (PhD student)</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field&diff=141838 2025-11-05T21:53:46Z

<p>Sabah Elhadid: </p> <hr /> <div>Erasmus+ Blended Intensiv Program (BIP). A collaboration between Bauhaus University Weimar (Sound Ecologies and Media Environments), the Estonian Academy of Arts (Master of Craft Studies), Potsdam University of Applied Sciences (Department of Design) and the Unniversity of Applied Arts (Transformation Studies) Vienna,Austria. <br /> <br /> Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius (Bauhaus University Weimar)<br /> &lt;br&gt;Prof. Monika Halkort (University of Applied Arts Vienna)<br /> &lt;br&gt;Prof. Myriel Milicevic (Potsdam University of Applied Sciences)<br /> &lt;br&gt;Prof. Kärt Ojavee (Estonian Academy of Arts)<br /> <br /> &lt;big&gt;'''SCHEDULE'''&lt;/big&gt;<br /> <br /> '''Preparatory Sessions (Online):''' April 4th, 11th 25th and May 9th 2025<br /> &lt;br&gt;'''Field visit, Narva, Estonia''' (including travel days): 18.5. – 25.5.2025<br /> &lt;br&gt;'''Follow up &amp; Project Review''' (online): June 20th and July 5th 2025<br /> <br /> '''&lt;big&gt;ECTS AWARDED: 6 (4 SWS)&lt;/big&gt;'''<br /> <br /> '''Topics addressed:''' energy transitions, extractivism, industrial waste as material witness and driver of (geo)political transformations and change.<br /> <br /> === SYLLABUS ===<br /> * 04.04.2025 [[GMU:Re-enchanting the field/Welcome &amp; Introduction|Welcome &amp; Introduction]]<br /> * 11.04.2025 [[GMU:Re-enchanting the field/Social &amp; Political History of Oil Shale Production|Social &amp; Political History of Oil Shale Production]]<br /> * 25.04.2025 [[GMU:Re-enchanting the field/The geo-history of oil shale in Estonia|The geo-history of oil shale in Estonia]] + Methodological Briefing<br /> * 09.05.2025 [[GMU:Re-enchanting the field/Preparation for Travel|Preparation for Travel]]<br /> <br /> FIELDWEEK May 18th – 25<br /> <br /> * 19.05.2025 [[GMU:Re-enchanting the field/EKA, Tallinn|EKA, Tallinn]]<br /> * 20.05.2025 [[GMU:Re-enchanting the field/Travelling to Narva|Travelling to Narva]]<br /> * 21.05.2025 [[GMU:Re-enchanting the field/Field visit auvre|Field visit auvre]]<br /> * 22.05.2025 [[GMU:Re-enchanting the field/Field visit|Field visit and independent work]] / [[Independent work on projects]] / practical experiments<br /> * 23.05.2025 Independent work on projects / Visit to Narva Venice<br /> * 24.05.2025 All-day group presentations &amp; Feedback<br /> * 25.05.2025 Travel Day<br /> ==== '''&lt;big&gt;PROGRAM DESCRIPTION&lt;/big&gt;''' ====<br /> This course offers an intensive training in elemental ethnography and ecological research. During a week long fieldvisit to Narva, Estonia, near the Russian border we will investigate the material legacy of oil shale extraction in the Baltic region, focusing in particular on the historical entanglement of energy, substances, landscapes, and bodies, and their unintended proliferations and designs. The fieldvisit will be preceded by 4 online lectures to provide context and to introduce us to the main topcis and cpnceptual framing of our research. <br /> <br /> Our main aim is to engage with the emergent properties of bio/geo-chemical waste in their broader geopolitical context and to unpack how they hold landscapes and bodies in colonial relations, long after the mining activities have been shut down.<br /> <br /> More specifically we want to explore the recurrent cycles of decomposition, death and renewal that are shaping the ambivalent landscapes of extractivism in Estonia, making their queer connections and affinities visible and apparent for critical inquiry and future research.<br /> <br /> ===METHODOLOGY &amp; TASKS===<br /> <br /> Together with local residents and field guides, we will visit ash mountains, ghost villages and abandoned manufacturing plants, built under Soviet Occupation (1941 – 1991), when oil shale production was at its historical height. Additional insights will be provided by scientific inputs from researchers in biology, geology, and environmental history in preparatory sessions online.<br /> <br /> The outcome of this collaborative exercise will be documented in a shared workbook (digital/online publication) based on group projects conducted in the field. The workbook will be designed as a living index of liminal relations that sustain the shale oil ecosystem, mapping how they animate, de/recompose and transform social and natural landscapes, organisms and bodies at different speeds, durations and levels of intensity. Drawing on acoustic sensing, environmental mappings, and elemental ethnography / bio-geochemical analysis, we hope to reveal the less noticeable tensions, collaborations, and attunements that emerge from ‘non-consensual inhabitations’ (Masco) and forced transfers and unpack how they facilitate and/or disrupt land-body relations against a backdrop of shifting geopolitical borders and energy regimes.<br /> <br /> ===LEARNING OBJECTIVES===<br /> Participants in this workshop will develop an understanding of bio-chemical processes and relations as critical infrastructures of geopolitical transformations and recognize how socio-ecological change is as much about (re)configuring life and responsibility beyond the individual body (Murphy, 2017, p. 479) as it is premised upon structures of violence and extraction that require land and bodies as sacrifice zones.<br /> <br /> ===COURSE MATERIALS===<br /> '''Course Materials (all)'''<br /> <br /> https://drive.google.com/drive/folders/1HV75lDkZEHdtrAgx0-7SFfqAEqqGSGdL<br /> <br /> '''Social and Cultural History of Oil Shale Production in Estonia (Text)'''<br /> <br /> https://drive.google.com/drive/folders/1rlz26-7diSfn2Mp-YVLSBt_TdLZdldKl?usp=drive_link<br /> <br /> '''Environmental Studies (Text)'''<br /> <br /> https://drive.google.com/drive/folders/1yM6MCDSTPJWmKqPqw7r_KL6FQKmc9tjP?usp=drive_link<br /> <br /> '''Ecology/Elemental Perspectives (Text)'''<br /> <br /> https://drive.google.com/drive/folders/1P1DwGrEWz3HpTbfr9932CYUuRyl5atNK?usp=drive_link<br /> <br /> *&quot;Ocean earth: 1980 bis heute: 1980 bis heute. Ausstellung Neue Galerie am Landesmuseum Joanneum im Künstlerhaus Graz, Febr./März 1993&quot;; Peter Weibel, Peter Fend, Thomas Donga Heike Rekampe ISBN 978-3927789722<br /> * &quot;Microhabitable&quot;; Fernando Garcia Dory and Lucia Pietroiusti ISBN 978-3753303864<br /> * &quot;[https://www.diaphanes.net/titel/technologies-of-care-7046 Technologies of Care&quot; by Yvonne Volkart]<br /> <br /> '''Methodology'''<br /> <br /> https://drive.google.com/drive/folders/1nHvoJGnypVfDTGesCPSrxdQw5lTeQ2i8?usp=drive_link<br /> <br /> * [https://leida.artun.ee/en/issues/community-of-agents/in-praise-of-legwork Legwork]<br /> <br /> * [[Feralatlas.org|Feral Atlas]]<br /> <br /> '''Miroboard'''<br /> <br /> https://miro.com/app/board/uXjVI4OmmIc=/<br /> <br /> ===EXPECTATIONS===<br /> Participation in the trip to Estonia 18. -25. May 2025<br /> &lt;br&gt;Interest in discourse, reading, research as well as hands-on material experiments around anthropocene &amp; feral landscapes, relationality, more-than-human design, interdisciplinary, experimental and poetic approaches, team work<br /> &lt;br&gt;Documentation and experimental storytelling (transferring findings and relations into visual, sonic, experimental narratives). These narratives will be published on a dedicated course website.<br /> ===PARTICIPANTS===<br /> Bauhaus Universität Weimar<br /> * [[/Cosmo Schüppel]]<br /> * [[/Jan Munske]]<br /> * [[/Karlotta Sperling]]<br /> * [[/Kitman Yeung]]<br /> * [[/Nina Bendix Igleses]]<br /> * [[/Öykü Türkan]]<br /> * [[/Rieke Hettinger]]<br /> * [[GMU:Re-enchanting the field/Sabah Elhadid|Sabah Abouelhadid]]<br /> <br /> Potsdam University of Applied Sciences<br /> * [[/Marie Buschmann]]<br /> * [[/Laura Günther]]<br /> * [[/Helena Haak]]<br /> * [[/Hannah Charlotte Krause]]<br /> * [[GMU:Re-enchanting the field/I na K won|/Ina Kwon]]<br /> * [[/Juliane Müller|/J uli ane Müll er]] <br /> * [[/Jennifer Schnurr]] <br /> * [[/Ragnar Wilczek|/]]RLW<br /> * [[/Tilmann Finner]]<br /> <br /> University of Applied Arts Vienna<br /> * [[/Virginia Nicole Bonareri]]<br /> * [[/Hans-Lionel Cayaban]] <br /> * [[/Helin Ozdemir]]<br /> * [[/Raphaela Leitner]]<br /> * [[/Sara Karimi]]<br /> * [[/Sofia Pechenaia]]<br /> * [[/Yuri Turovskiy|/Yury Turovskiy]]<br /> * [[/Jiun-You Ou]]<br /> <br /> Estonian Academy of Arts<br /> * [[/Chun Chow|/Odie Chow]]<br /> * [[/Marite Helena Kuus|/Marite Kuus]]<br /> * [[/Mariam Mestvirishvili]]<br /> * [[/Hannah Caroline Segerkrantz]]<br /> <br /> ===BUDGET===<br /> <br /> Participants receive stipends from the Erasmus programme to cover travel expenses.<br /> ===ACCOMMODATION===<br /> <br /> We will be staying at Narva Art Residency (NART)<br /> *https://www.nart.ee/en/residency/<br /> *https://g.co/kgs/uLm4yKZ<br /> The residency has two '''common sleeping areas''' which you can see [https://www.youtube.com/watch?v=avOYADrNMBY here]. To '''book a space''' please fill out this Google form https://docs.google.com/forms/d/e/1FAIpQLSfw00YebTE9C9GpAEJViwnC2q2s1tjGPMKmpTp9YLkhDR1abA/viewform?pli=1&lt;nowiki/&gt;The price for accommodation at NaRt is '''15€''' per night, '''75€''' for the whole week.<br /> <br /> S'''ubmit''' your reservation '''by''' '''April 29th'''! <br /> <br /> If you need or prefer more privacy, there are plenty of '''Air BnB''' spaces available in Narva. For further details see the info sheet below.<br /> <br /> '''Info Sheet Accomodation &amp; Arrival'''<br /> <br /> https://drive.google.com/drive/folders/1DB6yc_PfR_PKR0QnDerWHTY-JDR-xenj?usp=drive_link</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141443 2025-07-18T15:06:25Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> [[Brainstorming]]<br /> [[File:Navigation (dragged).jpg|thumb|1171x1171px|Photo Captured by [[GMU:Re-enchanting the field/Öykü Türkan|Öykü Türkan]]]]<br /> [[File:Navigation (dragged) 2.jpg|thumb|1183x1183px|Field work Narva-Estonia]]<br /> [[File:Re-enchanting the field presentation (dragged).jpg|thumb|1175x1175px|Archiving and studying the differences between visual structures and possible reasonings]]<br /> <br /> [[File:Screenshot 2025-07-16 at 09.03.40.png|thumb|1176x1176px|Short video of a scanned Feral Formation (No. 26) using 3d Scanner- Blender- Premiere Pro]]<br /> <br /> [[File:Snapshots.jpg|thumb|1160x1160px|Short video snapshots]]<br /> <br /> [[File:Navigation (dragged) 3.jpg|thumb|1180x1180px|Re- materialization of Feral Formations]]<br /> <br /> [[File:Navigation (dragged) 5.jpg|thumb|1195x1195px|Archive of Feral Formation Document-Structure]]<br /> <br /> [[File:Navigation (dragged) 6.jpg|thumb|1205x1205px|Archive of Feral Formation Document - Texture ]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141442 2025-07-18T15:00:43Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> [[Brainstorming]]<br /> <br /> [[File:Navigation (dragged).jpg|thumb|1201x1201px|Photo Captured by [[GMU:Re-enchanting the field/Öykü Türkan|Öykü Türkan]]]]<br /> <br /> <br /> [[File:Navigation (dragged) 2.jpg|thumb|1204x1204px|Field work Narva-Estonia]]<br /> <br /> [[File:Screenshot 2025-07-16 at 09.03.40.png|thumb|1176x1176px|Short video of a scanned Feral Formation (No. 26) using 3d Scanner- Blender- Premiere Pro]]<br /> <br /> [[File:Snapshots.jpg|thumb|1160x1160px|Short video snapshots]]<br /> <br /> [[File:Navigation (dragged) 3.jpg|thumb|1180x1180px|Re- materialization of Feral Formations]]<br /> <br /> [[File:Navigation (dragged) 5.jpg|thumb|1195x1195px|Archive of Feral Formation Document-Structure]]<br /> <br /> [[File:Navigation (dragged) 6.jpg|thumb|1205x1205px|Archive of Feral Formation Document - Texture ]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141441 2025-07-18T15:00:06Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> [[Brainstorming]]<br /> <br /> [[File:Navigation (dragged).jpg|thumb|1201x1201px|Photo Captured by [[GMU:Re-enchanting the field/Öykü Türkan|Öykü Türkan]]]]<br /> <br /> <br /> [[File:Navigation (dragged) 2.jpg|thumb|1204x1204px|Field work Narva-Estonia]]<br /> <br /> [[File:Screenshot 2025-07-16 at 09.03.40.png|thumb|1176x1176px|Short video of a scanned Feral Formation (No. 26) using 3d Scanner- Blender- Premiere Pro]]<br /> <br /> [[File:Snapshots.jpg|thumb|1160x1160px|Short video snapshots]]<br /> <br /> [[File:Navigation (dragged) 3.jpg|thumb|1180x1180px|Re- materialization of Feral Formations]]<br /> <br /> [[File:Navigation (dragged) 5.jpg|thumb|1195x1195px|Archive of Feral Formation Document-Structure]]<br /> <br /> [[File:Navigation (dragged) 6.jpg|thumb|1205x1205px|Archive of Feral Formation Document -Texture ]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141440 2025-07-18T14:49:57Z

<p>Sabah Elhadid: </p> <hr /> <div>[[File:Re-enchanting the field presentation (dragged).jpg|thumb|892x892px]]<br /> <br /> <br /> [[File:Navigation (dragged).jpg|thumb|1225x1225px|Photo captured by [[GMU:Re-enchanting the field/Öykü Türkan|Öykü Türkan]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[Brainstorming]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141439 2025-07-18T14:48:52Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> <br /> <br /> [[File:Navigation (dragged).jpg|thumb|1225x1225px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[Brainstorming]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141438 2025-07-18T14:47:37Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[Brainstorming]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141437 2025-07-18T14:45:43Z

<p>Sabah Elhadid: </p> <hr /> <div>[[File:Navigation (dragged).jpg|thumb|1144x1144px|[[File:Screenshot 2025-07-16 at 09.03.40.png|thumb|1129x1129px|[[File:Snapshots.jpg|thumb|1151x1151px]]]]]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[Brainstorming]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141436 2025-07-18T14:42:57Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> <br /> [[Brainstorming]]<br /> <br /> [[File:Navigation (dragged).jpg|thumb|1216x1216px|Narva-Estonia[[File:Screenshot 2025-07-16 at 09.03.40.png|thumb|1203x1203px|[[File:Snapshots.jpg|thumb|1222x1222px]]]]]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141435 2025-07-18T14:36:40Z

<p>Sabah Elhadid: Replaced content with &quot; Brainstorming&quot;</p> <hr /> <div><br /> <br /> [[Brainstorming]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Sabah_Elhadid&diff=141434 2025-07-18T14:36:02Z

<p>Sabah Elhadid: </p> <hr /> <div><br /> <br /> [[Brainstorming]]<br /> [[File:Navigation (dragged).jpg|thumb|1208x1208px|Photo captured by [[GMU:Re-enchanting the field/Öykü Türkan|Öykü Türkan]][[File:Screenshot 2025-07-16 at 09.03.40.png|thumb|1183x1183px|short video using 3d scanner + Blender + Premiere Pro]][[File:Snapshots.jpg|thumb|1184x1184px|[[File:Navigation (dragged) 2.jpg|thumb|1077x1077px|[[File:Re-enchanting the field presentation (dragged).jpg|thumb|1107x1107px|[[File:Navigation (dragged) 5.jpg|thumb|1104x1104px|[[File:Navigation (dragged) 6.jpg|thumb|1094x1094px]]]]]]]]]]]]</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Re-enchanting_the_field_presentation_(dragged).jpg&diff=141433 2025-07-18T14:24:17Z

<p>Sabah Elhadid: </p> <hr /> <div>-</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Navigation_(dragged)_6.jpg&diff=141432 2025-07-18T14:19:39Z

<p>Sabah Elhadid: </p> <hr /> <div>closeups - textures</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Navigation_(dragged)_5.jpg&diff=141431 2025-07-18T14:17:55Z

<p>Sabah Elhadid: </p> <hr /> <div>collected feral formation</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Navigation_(dragged)_3.jpg&diff=141430 2025-07-18T14:15:44Z

<p>Sabah Elhadid: </p> <hr /> <div>-</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Navigation_(dragged)_2.jpg&diff=141429 2025-07-18T14:13:48Z

<p>Sabah Elhadid: </p> <hr /> <div>Field trip- Narva, Estonia, Archiving Feral Formations</div>

Sabah Elhadid https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Snapshots.jpg&diff=141428 2025-07-18T14:11:39Z

<p>Sabah Elhadid: </p> <hr /> <div>-</div>

Sabah Elhadid