Kahraman argues that while admiring the idea of “art for art’s sake”, it is important for her to communicate a strong message through her work, an idea expressed by the critic Robert Hughes: “If art can’t tell us about the world we live in then there is not much point in having it.”
Kahraman’s body of work reunites eclectic sources of inspiration, including traditional Japanese prints, Art Nouveau, Persian miniature painting and fashion imagery. The notion of space is vital to Kahraman, as she constantly strives to understand and redefine boundaries in which social and political turbulences prevail. While artists such as Laylah Ali, Marcel Dzama and Amy Cutler use fantasy and disarmingly endearing drawings to express complex, wounded realities, Kahraman's illustrations demonstrate the difficulties facing women in the Middle East, addressing specific aspects of Middle Eastern identity such as traditional courtly garments, ethnic instruments and tessellated patterns, and combining these characteristics into accessible and seductive fairy-tale imagery.
This remarkable early work by Kahraman depicts the scriptural story of the Sacrifice of The Lamb, a legend recorded both in the Qur'an and the Bible. Abraham was told by God in a vision to sacrifice his only son as proof of his unquestioning devotion. In seeing the extent of Abraham’s faith God allowed the substitution of a ram in the boy’s place. This event is symbolically repeated during the most important Islamic festival, Eid al-Adha, where lambs are sacrificed as part of this religious celebration. By means of combining a universally emotive story with astonishing technical virtuosity, Kahraman has created encompassing various ideas into accessible and seductive fairy-tale imagery with astonishing power and impact.
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