In "At the Gate of Dawn", the beggar’s bowl, or "kashkul", serves as a symbolic vessel in exploring the Sufi way of asking, a practice centered on humility and detachment from worldly concerns. This bowl reflects a traditional Sufi approach to life, where asking is both a spiritual practice and a means of reminding others that everything is a blessing. By holding out the kashkul, the Sufi beggar exemplifies openness to the divine in others, inviting generosity while imparting a sense of unity and shared responsibility.

 

This historical container as an empty vessel embodies my meditation on notions of self-emptying to make room for divine wisdom. This method, which involves setting aside ego to be receptive to others' generosity, resonates deeply within today’s divided world. It challenges materialistic perspectives and emphasizes vulnerability, one way to foster empathy across political and cultural divides. By encouraging viewers to come closer in see their reflection in this vessel, I am suggesting a pathway to bridging separations through mindful giving and receiving. In our politically fragmented world, this meditative practice offers a counter-narrative, highlighting how humility and interconnectedness can inspire unity and understanding.

 

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On Luster Glazes:

In *At the Gate of Dawn*, my exploration of luster glazes reflects a technical engagement with historical ceramic techniques. Beginning research four months before the exhibition, I experimented with test tile spheres, achieving promising results. The luster glaze process demanded precise control over firing temperatures and atmospheres to capture its unique reflective qualities. I created a distinctive, iridescent finish that honors the alchemical roots of ceramic art and my Arabic cultural influence. This method invites contemplation on the meditative and transformative aspects of glaze chemistry.