Diana Al-Hadid

The Falcon and The Bandit

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Diana Al-Hadid, The Falcon and The Bandit, 2017, Polymer gypsum, fiberglass, steel, plaster, copper leaf, gold leaf, painter’s tape and pigment, 274.3 x 213.4 x 14 cm, Art Jameel Collection. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. Photo courtesy of Object Studies.

Artwork Details

Artist

Diana Al-Hadid

Title

The Falcon and The Bandit

Date

2017

Medium

Polymer gypsum, fiberglass, steel, plaster, copper leaf, gold leaf, painter’s tape and pigment

Dimensions

273.4 x 213.4 x 14 cm

Credit Line

Art Jameel Collection

Artist Biography

Diana Al-Hadid (b.1981, Syria) lives and works in Brooklyn, USA.

Diana Al-Hadid is known for her practice that spans across media and scale, and examines and illustrates perspective through history, architecture and narrative. Through large-scale sculptures, bronze sculptures and drawings, she uses her art as a bridge between her Western life and Middle Eastern upbringing, drawing inspiration from a plethora of sources including science, myth and Old Master works. Her work has been displayed in various solo and group exhibitions at Berggruen Gallery, San Francisco (2019); The Bronx Museum of the Art, New York (2018); San Jose Museum of Art, San Jose (2017); Marianne Boesky Gallery, New York (2017); Mills College Art Museum, Oakland (2017); September Gallery, Hudson NY (2017); New York University Abu Dhabi Art Gallery, Abu Dhabi (2016); David Winton Bell Gallery, Rhode Island (2016); Isa Gallery, Mumbai (2015); and The Farjam Foundation, Dubai (2014). Diana holds a BA Art History and BFA Sculpture from Kent State University, Ohio (2003) and an MFA Sculpture from Virginia Commonwealth University, Virginia (2005).

www.dianaalhadid.com

Work Description

Diana Al-Hadid is known for a practice that spans media and scale, and examines the historical
frameworks and perspectives that shape our visual, material, and cognitive assumptions. Al-Hadid’s
sculptures, panel works, and works on paper are built up with layers of material and history. Her rich,
formal allusions cross cultures and disciplines, drawing inspiration, not only from the history of distance
civilizations, but also from histories of the materials themselves.
Al-Hadid developed a unique process for her panels that evolved from material studies in her large-scale
sculptures, but which owe a great debt to her flat work. This body of work falls somewhere between
her fully three-dimensional sculptures and her drawings on Mylar, and like all her work, borrow from a
variety of sources ranging from Old Master paintings to the innovative works of the Islamic Golden Age.
The panels are made additively, and originate from the artist’s quick gestural brushwork, methodically
reinforced such that the image dictates the structure. Al-Hadid describes her signature process as
“somewhere between fresco and tapestry”. These works have been made as hanging objects,
architectural interventions, and most recently as outdoor installations.

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