The concept of amputation, which the artist has been developing in her practice since 2020, takes on new meaning in this cycle. Beyond its physical and spatial dimensions of loss, it also encompasses the rupture of personal, familial, and cultural continuities. The destruction of her own home during the war in Gaza also meant the loss of her entire body of previous artistic work, making the question of memory, personal archive, and the continuity of artistic practice one of the central starting points of this cycle.
The exhibition brings together prints made in drypoint, while a video projection links the individual sheets into a single whole. Drawing on photographs sent to her by her family during their forced displacement in Gaza, the artist does not relay them in a documentary way, but translates them into a graphic language of traces, fragments, and voids. The process of carving the matrix plate thereby becomes more than a technical procedure — the etched trace and the print become elements through which the artist explores what remains after loss, while the printmaking process allows experience to be translated into material trace. Fragmentary scenes, stark black-and-white contrasts, and a rhythm of repetition do not reconstruct events, but create a space in which the consequences of war manifest themselves in ruptures, voids, and absence.
Majdal Nateel (b. 1987) is a Palestinian visual artist and researcher who grew up in Gaza and now lives and works in Sweden. She graduated from Al-Aqsa University in Gaza and is a co-founder of the artist collective Dahaleez. Her artistic practice explores the relationships between body, space, and collective memory in the context of war and forced migration. She has exhibited in Palestine, the United Kingdom, Canada, the United States, Italy, and Switzerland, and has taken part in numerous international residencies and exhibitions.
