Zahra Bundakji

‘Semiotics of Tagg’ (2019) explores dance and movement within often private female spaces as a resilient practice of intangible cultural heritage. Moments in movement are captured in still images almost immortalising a single moment that would otherwise be left behind.

The artist’s choice to use Cyanotype on linens ties deeply to the use of fabric and fashion that is seen in women only spaces, one that is very different from that that can be seen in public. The Cyanotype method is transient and changes it’s visibility according to its surroundings, this process echoes and speaks to privacy culture in Saudi Arabia, particularly in celebrations.