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Material Tension<\/p>\n
In the work of Majd Abdel Hamid, embroidery is an act of thinking. A relentless process that initially chased perfection but, over time, tempered into something more fluid, more accepting of unravelling. A practice that is still compulsive but that now resists the limitations of finality.<\/p>\n
Over the last decade, Majd has sustained an ongoing habit of white-on-white embroidery. These works, a small selection of which surface in \u201cOn White\u201d, trace a journey spanning more than a hundred pieces, each the result of long hours of meticulous labour.<\/p>\n
The repetition of white thread stacking over a white surface is like the slow growth of a ghost garden, silent but persistent. In this, there is a kind of psychosis, an unfolding where time stretches and collapses in the rhythm of the needle moving in and out of fabric. The work demands looking, looking again, looking closely, looking with the body. Shadows form where threads rise, textures emerge only when the light shifts.<\/p>\n
These small works evade imposed meaning. Guided by instinct rather than premeditated structure, each stitch reads like a gestural stroke in a painting. Spontaneous composition and the physical negotiation of material move through a register resonant with archetypal abstraction.<\/p>\n