Rabi Koria

CV

2017    Het Stijlpaviljoen, Trapezium, Amersfoort NL 2017  Galerie SANAA, Utrecht  NL

Publications

Bulletin van de Vereniging Rembrandt-2017 jaargang 27 nr.1 Nothing But Good- 28 januari 2017

Le Journal des Arts - 30 septembre 2016 Catalogus Beirut Art Fair - 15 september 2016 Beau:x Arts magazine - septembre 2016

See All This - 2016, jaargang 1 nr. 2 Leidraad - Alumni zomer magazine 2016 De Volkskrant-14  mei 2016,  nr. 27989

Trouw magazine, Letter & Geest- 12 maart 2016 Trouw- 12 maart 2016, nr. 21886

Catalogus HKU's Royal Club- 5 februari 2016 Catalogus  Rotterdam  Contemporary- 10 februari 2016

Brabants centrum -  26 november 2016, nr. 48

Elsevier - 31 oktober 2015, jaargang 71 nr. 44

NRC -  10 oktober 2015,  jaargang 46 nr. 9

Trouw- 10 oktober 2015, nr. 21757

De Volkskrant -10 oktober 2015, nr. 27808

Het  Parool - 10 oktober 2015, nr. 21.477

Catalogus Koninklijke prijs voor vrije schilderkunst 2015 www.lost-painters.nl, Eindexamen Expositie; HKU 2015 FINE ART TWG  Catalogus  2015.

BK-lnformatie  - 31 januari 2015,  jaargang 37 nr 1

Biografie

Oxide side

My ceramic paintings consists of sketches I made which relate  to news articles about refugee camps situated in different countries such as Lebanon, Turkey, Jordan and Egypt.

Analyzing  images  from the media, I noticed that the fleeing population has increased in the deserts with only pieces of cloth used as shelter. The heat, limited food and water, and uncomfortable circumstances in these images gives a painful description of the loss of our humanity in the 21st century. In my opinion, these images act as a metaphor for the general struggles of our global issues in different facets. War is just one of them.

The oriental rugs placed in refugee tents are a way to make these temporary shelters feel like home. Inspired by the way the interior of the tents have been used for living , from people who used to have brick houses, goes with a slight sense of creativity of using limited materials available to them. The tents have also been made using advanced methods to last longer periods of time.

By sketching these spaces with acrylic and oil on 12cmx 17cm sized paper, I noticed many things in the found imagery. Not only the expressions of the human beings who have to spend their time there, but also the use of the limited. One of the things that fascinated me were the images which the camera captured a moment, from the inside of the tents looking outside through the cloth door. The outside views mostly consists of mountains, the endless deserts or a river almost hidden away.

I aim to capture those moments which is reflected on the ceramic surfaces. Working in layers and various brush techniques I discover new ways of representing landscapes in the abstract such as the series ‘sea-view’.

This series was also  inspired by one of the major issues in these camps, the water facilities and water shortages.

 ‘The refugee crisis has hit record heights in recent years. According to the UNHCR, as of the end of 2014 there were approximately 60 million refugees worldwide. This is a significant increase from a decade ago, when there were 37.5 million refugees worldwide. Syria’s ongoing civil war, with 7.6 million people displaced internally, and 3.88 million people displaced into the surrounding region and beyond as refugees, has alone made the Middle East the world’s largest producer and host of forced displacement. Adding to the high totals from Syria are displacements of at least 2.6 million people in Iraq and 309,000 in Libya. This significant increase in refuges has only escalated the need for specific water quality and quantity regulations for refugee camps.

Human beings can survive a week without food but cannot live for more than three days without water. While the abundance of water in our daily lives mean most of us take it for granted, the reality on the ground is that millions around the world suffer from lack of access to water – many of which are refugees. Refugee camps often do not have enough water to supply all refugees residing within them.

The majority of refugee camps in the world are unable to provide the recommended daily water minimum of 20 liters water per person per day. In addition, many countries holding refugees are water-scarce. Jordan, for example, is one of the top 10 water-scarce countries in the world and holds more than 1.4 million refugees (mainly from Syria). This has caused tremendous strain on the country’s very low water resources, making it extremely difficult to supply sufficient water for refugees. However the biggest reason behind lack of water at refugee camps across the globe is the lack of water infrastructure.

The lack of water infrastructure makes it very difficult to transport sufficient amounts of water, and provide proper sanitation to all residents of a refugee camp. In fact, a recent study by the Jordanian Ministry of Water and Irrigation showed that the country’s sewerage network are being overflowed and are subsequently leaking due to the increase in the number of refugees. Furthermore, studies have shown that water borne diseases are more persistently present when the minimum water requirement (20 liters per person) is not met simply because there is less water for sanitation and cleaning purposes. That is why it is absolutely vital that governments ensure that recommended daily water minimum is provided to all refugees.’

Source: www.ecomena.org

Pers

Juryrapport jury Koninklijke Prijs voor Vrije Schilderkunst 2015

In het werk van Koria komen culturen samen, zowel in beeld als in techniek. De actuele conflicten in het Midden-Oosten zijn belangrijke factoren binnen het werk. Vorm en inhoud gaan daarbij een dialoog aan, zoals in de fragmentatie van het beeld. De leesrichting in Koria’s tegeltableau loopt van rechts naar links, van een geheel gebouw naar een detail, van donker naar licht, tot het punt waar inhoud en materiaal één worden. De kalligrafie, in

Arabische landen vaak nog steeds een hoogtepunt binnen de kunst, wordt in West-Europa toch voornamelijk als couleur locale gezien. Koria manipuleert die westerse kijker. Hij gebruikt het westerse alfabet en lijkt ook te verwijzen naar de captcha encryptie van internet.