tracing transcendence, 2018 - 2021

hand pierced copper, single channel sound composition

Sound composition: Spencer Anthony Reid

collection of Art Gallery of New South Wales, Australia

tracing transcendence considers the symbolism of sacred architecture, by reimagining the dome (vault of heaven), through an installation of three suspended and pierced circular forms and a sound composition. The work reflects upon the interpretation of spiritual and sacred architectural spaces by communities whose innovation, faith and resourcefulness within their shifting cultural environments leads to the construction of symbiotic spaces of religious worship. The Australian Cameleers are central to the work, as their construction of a space of prayer for their spirituality in local materials, motifs and locations across central Australia demonstrates the fluidity of the interpretation of the sacred, that has enabled personal and public religious architecture to move beyond pyhisical and idealogical boundaries.

The first of the circular forms draws from a comparative response to experiences from within the Afghan Mosque in Broken Hill and the local mosques across Western Sydney. The geometric motif was developed through consideration of a connection between the two sacred spaces. The Islamic geometry alludes to the squared decorative sheets of pressed tin that line the interior walls of the Afghan Mosque in Broken Hill.

The second circular form was informed by the first mosque built by the Cameleers in Maree South Australia, although due to years of erosion little remains at the site where research development led to the Cameeler's possessions and cultural practices in Australia. The decorative piercing work on the second band references the Cameeler coat. The weave-like motif was an important element to reference within the artwork, which also brought in the intimate and personal markings of the Cameleer's experiences.

The third circular form looks at what the future of the mosque will be within the cultural landscape of Australia. Who will build it? What will it look like? Whereabouts will it be? Will it be a welcomed architectural addition to rural or urban communities? The third suspended form is symbolic of transition looking at the diversity of voices contributing to the broader community in Australia and also the growing diversity within the Australian Islamic community.

The sound composition is layered with multiple field recordings taken from the historic mosque locations in Marree, South Australia and Broken Hill, New South Wales, the call of prayer, and a white noise based interpretation of the sounds of the landscape throughout the region. The composition aims to create an immersive outback soundscape reflective of the experience of the cameleers.

© Shireen Taweel 2024