Kandinsky writes: “The power of profound meaning is found in blue, and first in its physical movements, of retreat from the spectator, of turning in upon its own centre. The inclination of blue to depth is so strong that its inner appeal is stronger when its shade is deeper.” The word “blue” sounds exactly the same in Arabic and Hebrew. Likewise, the word “paintbrush” in Hebrew is pronounced the same as “blue” (כחול-מכחול); as if blue were something integral to the painter, part of her body, or the painter herself is blue. Blue is the colour of the Berber people, an Indigenous North African group that my family is part of. Basically everything in the Berber house is blue (majorelle blue in particular): the doors, the windows, the plant pots, external walls, and clothing for instance. This colour is something that I returned to when visiting my childhood home and then traveling to Morocco in 2019. Just as the symbol Aleph became a choreographic device in my performative practice and in the construction of the exhibition space, so did the color blue, made apparent by the textile prop used in work Möbius. The blue color in Möbius responds to my subjective experience of embodiment, the semiotics of color, and the conceptual translation of the literature I engaged in. It is commonly understood that colors have a fundamental role in the work of a painter. Every painter passes through the journey of creating a universe of interpretations around colors. Working in-between performance and visual arts led me to encounter and consider colors differently. I have been studying theories and semiotics of colors through works such as Wassily Kandinsky’s book Concerning the Spirituality in Art, which became a great source of inspiration for me.

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