This artwork takes us across vast expanses of clay into the heart of Jerusalem, within its ancient walls. Through the cracks in the clay, we witness the city’s adornments, fractures, solitude, and the waters of its oasis that breathe life into all its corners. Here, Jerusalem appears as a destination for the traveler, the fighter, the struggler, the believer, the worshiper, the refugee, the wanderer, and the lover. Torn paths lead to it, testing the seekers’ resolve and the depth of their faith in the necessity of reaching the heart of the world. It is a journey of both body and spirit, twins and companions who yearn for Jerusalem after the fatigue of a long journey.
Clay, the primal material of creation and art, is paired with decorative patterns that depict Jerusalem in a tangible and emotional representation, nearly speaking through its aesthetics and symbols. These patterns draw from the embroidery traditions of Palestinian women, who have woven the city's emotions into their designs. Every moment spent before this clay representation of Jerusalem is one of contemplation, effortlessly immersing the viewer in the city's timeless and boundless essence, as though carried on the wing of an angel that transforms beauty into a tangible attribute and a fragrant presence. Each glance into the cracks reveals a wound in the city's heart, emanating the tranquility of peace rooted in its sanctity.
Here, anything is possible: harshness that softens the heart to the point of tears, self-reflection mirrored in the stones, and the certainty of wanderers that they will ultimately arrive.
This work was brought to life with the participation of the artist Al-Aziz Atef (born in Al-Arroub refugee camp in 1996) and a group of volunteers from the Faculty of Art, Music, and Design at Birzeit University.
Suleiman Mansour, On the Wing of an Angel, 2024. Clay, straw, and henna, 12 x 6 m.
Clay, the primal material of creation and art, is paired with decorative patterns that depict Jerusalem in a tangible and emotional representation, nearly speaking through its aesthetics and symbols. These patterns draw from the embroidery traditions of Palestinian women, who have woven the city's emotions into their designs. Every moment spent before this clay representation of Jerusalem is one of contemplation, effortlessly immersing the viewer in the city's timeless and boundless essence, as though carried on the wing of an angel that transforms beauty into a tangible attribute and a fragrant presence. Each glance into the cracks reveals a wound in the city's heart, emanating the tranquility of peace rooted in its sanctity.
Here, anything is possible: harshness that softens the heart to the point of tears, self-reflection mirrored in the stones, and the certainty of wanderers that they will ultimately arrive.
This work was brought to life with the participation of the artist Al-Aziz Atef (born in Al-Arroub refugee camp in 1996) and a group of volunteers from the Faculty of Art, Music, and Design at Birzeit University.
Suleiman Mansour, On the Wing of an Angel, 2024. Clay, straw, and henna, 12 x 6 m.
Suleiman Mansour
A renowned Palestinian contemporary artist, born in Birzeit in 1947. He is one of the most prominent figures in Palestinian art, contributing significantly to the development of fine arts infrastructure in Palestine. Mansour often incorporates local materials such as clay, henna, and straw into his works. His series "I Am Ismail" received the Nile Grand Prize at the 7th Cairo Biennale and the Palestinian Visual Arts Award. His works have been widely exhibited across Palestine, the Arab world, Europe, Korea, Japan, and the United States.