I have discovered that the notion of freedom is deeply personal.

Introduction

Tradition can be the rich earth from which one’s identity grows. The roots of history nourish the present while the embrace of a shared culture provides both a sense of belonging and a mutually accepted framework within which to live. But the sedimented subsoil of tradition can also prove stifling if the individual’s sense of self seeks a life that extends further than those traditional roots permit. And yet our origins and our destiny are both irrevocably bound up in who we are. When they find themselves at odds, the tension and confusion felt by the individual can be overwhelming.

For Amr Attamimi, making photographs became a way to work through these tensions as he acted out the psychological conflicts he was experiencing in symbolically expressive tableaux. A way to explore what words could not. Through his artmaking, he has sought both the catharsis of making manifest fears of which he could not speak, while also envisioning what it might mean to be free to pursue the path of his authentic self. It is a journey that, over the past thirteen years, has taken him from his beloved homeland of Yemen to the cosmopolitan milieu of London. The photographs he has created along the way map an intimate passage of becoming…

Alasdair Foster

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Interview

When did you begin making photographs and what drew you to this medium of expression?

It started in 2010. I discovered in this art form a distinctive language through which to convey my emotions, experiences, and observations in visual storytelling. It empowered me to escape into a personal reality of self-expression and helped me to liberate myself from the constraints of convention.

How would you describe your approach to making photographs?

It’s a deeply personal and multifaceted exploration. I use a kind of contemporary surrealism to break free of traditional boundaries. Each image is an expression of my inner world, a visual diary of feelings and experiences encapsulated in a single frame. Philosophically, I think photography became a way for me to try to bridge the gulf between the tangible and the abstract.

In your early work made in 2011 you create powerfully affective images of falling, clawing your way out of the ground, being dismembered, blinded…? What did you seek to explore in these images?

It was a time when I found myself navigating a complex internal landscape marked by a juxtaposition of freedom and constraint. I was just beginning to understand how I could express my feelings freely in images. To push boundaries. These images are a fusion of dreamlike aspiration, inner conflict, and the early development of a highly personal, visually arresting form of narrative.

Can you give an example?

The image called ‘Thousand Knives’ was made during a period of my life when I was haunted by the prospect of never experiencing true freedom. It cast a dark shadow over my mind. Each blade in the image symbolises a negative thought; a fear that I might find myself tethered to a life that wasn’t truly my own. A life dictated by external expectation rather than my own desire.

[Left] © Amr Attamimi ‘Thousand Knives’ 2011
[Right] © Amr Attamimi ‘Other’ 2011

Despite the love and support of people around me, and the serene surroundings of my life at that time, I couldn’t shake the profound desire for something more. I was caught in an emotional paradox: the yearning for freedom clashed with the desire to be close to those I love, to the simplicity of my early life. Both aspects, contradictory yet equally compelling to me, shaped my longing for a life that was uniquely mine. ‘Thousand Knives’ is, for me, a visualisation of the profound anxiety I felt at the prospect of being trapped in other people’s rules and expectations.

Fast forward to today, and I find myself in the vast embrace of a megacity. It’s no coincidence that here, amidst the hustle and bustle of London, I feel a sense of liberation, unburdened by the weight of small-town expectation and judgment. The city allows me the space to be who I want to be, free from the constraints that once tormented my thoughts. I have discovered that the notion of freedom is deeply personal, unique to each individual.

If I understand correctly, you are the figure in all of these images. Are these images wholly autobiographical or are you performing a character like an actor?

Indeed, all my images begin with the autobiographical, for me making photographs is a deeply personal process. Through each image I try to create a window into my inner world, a visual manifestation of my emotions and thoughts at that time. My role in the image is similar to an actor playing a character, but that character is a representation of my authentic self. Together the images become a visual diary of my evolving perception of things.

So, is your work wholly introspective?

Not wholly… I draw inspiration from both personal experiences and broader worldly themes. My intention is to blend the personal and the universal. Growing up in Yemen, I found solace and inspiration in my immediate surroundings. The vibrant culture and beauty of Yemen, and the struggles we continue to face, have undoubtedly left a profound mark on my work. At the same time, I like to think of my imagery as something that transcends boundaries, tapping into more universal emotions and narratives.

Circumstance is also a contributing factor. When I moved from Yemen to England the cultural shift, the distance from my roots, opened up new perspectives that have become integral elements of my creative development. But at its heart, it remains an ongoing dialogue between my evolving sense of self and the world around me.

[Left] © Amr Attamimi ‘I Am a Human Copy II’ 2014
[Right] © Amr Attamimi ‘I Am a Human Copy III’ 2014

In the works made in 2013 and early 2014, you (or the character you perform) appear under a cascade of papers which later adhere to the body revealing text in many languages. To what are you alluding here?

This series is called ‘I Am a Human Copy’. I was still living in Yemen at the time. I wanted to explore concepts of societal norms and the disparities in how people are treated. The series is both a manifestation of my personal struggle and an earnest attempt to advocate for a fairer world on a humanitarian level. I was grappling with the fundamental question of why it is that individuals, despite sharing similar human needs, are subject to different rights and treatment based on quite arbitrary factors. For me, these images represent more than just an artistic series; they are my impassioned plea for a more equitable global society, where the essence of our shared humanity transcends cultural, geographical, and linguistic boundaries.

The specific photograph ‘I am a Human Copy II’, currently featured in the ‘Voices: Contemporary Art and Design from the Middle East and North Africa’ exhibition at Durham University [to 12 May 2024], plays a significant role in this narrative. In this work my body is covered with scraps of paper on which the phrase “I am human” is written in many different languages. Despite their linguistic differences, these labels convey the same fundamental truth. The intention is to underscore the universality of the human experience, emphasising that, regardless of our diverse backgrounds, we share common human needs.

In ‘Lalaland’ the mood changes…

This is set in my hometown, a place whose architecture and surroundings are very close to me… to who I am. Through the addition of the clouds, I wanted to suggest a state of perfect freedom and tranquillity. Yet they symbolise the nebulous nature of freedom and tranquillity, suggesting that such a notion of one’s relation to the world is utopian. Nonetheless, I wanted to visualise a perfect state of mind, evoking feelings of positivity and imagination that are, perhaps, only possible in such a dreamlike state.

In a number of your later images there is a sense of entanglement – for example in ‘Moerae’ and ‘The Peripheral Edge’…

Those two images share a common theme revolving around the threads of life and the dance of fate. Despite my desire for self-determinacy, these images acknowledgment there are forces beyond my influence shaping the course of my life. It’s an exploration of the hand of destiny and the paths it weaves for us.

[Left] © Amr Attamimi ‘Moerae’ 2016
[Right] © Amr Attamimi ‘The Peripheral Edge’ 2020

‘Moerae’ – the white-robed incarnations of destiny – is a positive affirmation of fate. The strings of life guiding me forward. I had been thinking about of the predetermined elements of my personal journey. I have come to realise that there is a beauty in recognising how certain aspects of my life have unfolded, as if guided by an unseen force beyond myself.

On the flip side, ‘Peripheral Edge’ evokes a more ambivalent and emotive sense of the role of fate as an amalgamation of excitement and trepidation. The blindfolded figure must surrender to the unpredictable twists and turns orchestrated by an unseen destiny. To be led blindly into a realm of extreme change, where the unknown becomes both intimidating and, at the same time, thrilling.

In ‘Chrysalis’ and ‘Sailor Between Planets’ you seem to suggest rebirth or an outpouring of some kind…

These are part of the ‘Panspermia’ series exploring ideas of rebirth, migration, and origins. [Panspermia being a philosophical hypothesis that life migrates through the universe.] It is rooted in my profound fascination with life, delving into the concept that even things that are familiar and close to us have an alien origin. I was reflecting on the people I’ve encountered. People who started as strangers later to become cherished friends. I came to realise that origins matter little in the tapestry of connections. Each person I have met has in some way contributed to shaping who I am today.

[Left] © Amr Attamimi ‘Chrysalis’ 2019 from the series ‘Panspermia’
[Right] © Amr Attamimi ‘Sailor Between Planets’ 2019 from the series ‘Panspermia’

But this is also an exploration of our own mysterious nature. It suggests that, as individuals, we may not know much about our true genesis. Our philosophical origins may come from anywhere as we experience new things, creating a fresh life in a different environment. We can find a profound closeness with people from far away and grow apart from those with whom we were once intimately connected. Wherever we go, we seek a home, a rebirth. It is intrinsic, a natural order of things, unstoppable and eternal.

In your most recent images such as ‘The Visit’ and ‘The Absolute’, the mood changes again. What brought about this change?

More than ever before, I found a profound connection with Nature, reflected in the inclusion of butterfly- and dragonfly-wing shapes and, in other works, flowers. But, while these photographs share a thematic thread, each tells a distinct story.

‘The Visit’ has some connections with the ‘Panspermia’ series, introducing a mysterious figure into my life. A newcomer who alters everything. The image captures the essence of a person who is enigmatic yet emanates a peaceful aura. The process of creating these images served as a kind of mental rehearsal: an attempt to visually articulate the changes I was experiencing in my ideas and emotions through metaphors of Nature.

[Left] © Amr Attamimi ‘The Visit’ 2020
[Right] © Amr Attamimi ‘The Absolute’ 2020

And ‘The Absolute’?

This emerged through an experimental process in which I was trying to capture an essence, the closest representation of myself. The composition combines three significant things. Being in the bath is an intimate activity. The flurry of dragonfly wings suggests a dreamlike mental state. Yet bathing is a normal activity that speaks of the everyday. In blending these three elements I wanted to express an unadulterated sense of self: the absolute.

What have you learned about yourself in the process of making your work?

In retrospect, it’s fascinating to witness the progression and evolution in these images, almost like a visual chronology of my growth over the years. It’s only with time that I’ve come to appreciate the profoundly autobiographical embedded in each photograph – an unintentional yet compelling self-portrait capturing the essence of who I am and how I navigate the complexities of life through my lens. With the passage of time, I find I can view these images both as memories and, more objectively, as if through the eyes of another.

Through this, I’ve not only learned about my strengths and weaknesses but also discovered a way to confront and comprehend them. There are moments when words fail me. Sometimes it’s a fear of being judged, at others I simply don’t trust that I have found the appropriate way to say what I mean. At those times, I’ve found refuge in expressing myself through making photographs. The process holds up a mirror to my fears, helping me to reflect on what I really think about things and what changes I should make or actions take.

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This interview is a Talking Pictures original.

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