A Resemblance Of Outstanding Geometry by Louis Ibrahim (June 2000)

They are adjusted, well-aligned and archetypal. These are the squares and traces of Jordanian artist Ghada Dahdaleh, who displayed her 38 paintings in the “Doors and Windows” exhibition at the Cervantes Institute.

The exhibition presented different shapes and angles of squares that blended together in bright colors and shades. What was significant about these is that they were of different sizes that interacted with each other in beautiful and unique geometrical designs and structures.

But why would Dahdaleh use squares in her paintings? “I believe squares are essential components in architecture,” Dahdaleh told The Star. “Squares comprise a good research for traces and lines, where angles can be connected in straight opposites.”

For sure, the title of the exhibition reflects its composition. Each painting displays a square portrayed in a mixture of basic colors, including green, red and yellow. The structure itself gives the viewer an impression of a well-designed construction.

Dahdaleh made it clear that her paintings depict windows, doors, buildings and walls that she often notices in her wanderings through Amman’s streets and neighborhoods and in the refugee camps.

“Before I launched my series of ‘Doors and Windows’ exhibitions in 1986, I used to visit refugee camps and public neighborhoods to explore the windows and doors that people made in their houses,” said the artist, who graduated in 1984 with a degree in Abstract Art from the Central Technical College of Art in Toronto, Canada.

One of Dahdaleh’s paintings presents six squares combined in one wide structure, each one containing tiny squares that look like furniture in a room or boxes in a warehouse. The painting was made by a mixed media mono-print on paper.

Another painting shows squares in two major colors: Blue and black. This is not to forget some of the white dots and traces that overshadow the painting. The most explicit part of this is that it gives an impression of an overhead view of a bedroom where black squares represent beds, with a carpet in the middle in the shape of a white square. The blue color in the background relates to the ground.

Dahdaleh said her colors were carefully chosen to project the final work. Despite the fact that people generally use dark colors for their doors and windows, Dahdaleh painted these in bright hues.

“During my last visit to the refugee camps, I was surprised to find out that people have changed a lot,” she explained.

She said the reason behind using bright colors and shadows in her drawings was to do with the developments she discovered on her last visit to the refugee camps earlier this year.

Images and concepts were much pronounced in the event, where they were captured to give different angles. Dahdaleh used silkscreen and mono-print techniques.

She also used to paint with water-base colors on paper from different adaptations. Techniques used in all Dahdaleh’s paintings reflect her ability to blend her own impression with the nature of lines and style of painting.

“Although there is nothing political in her work, Dahdaleh defends and asserts, with a great deal of conviction, her roots and origins and also her sense of belonging,” explained Marie Martinez, a Spanish art critic.

She added that Dahdaleh’s style presents a vigorous rhythm. “The gaze is appeased and pleasure is now present. This is a body of work that is still evolving and that must be discovered as it changes.”

Soon after her graduation in 1984, Dahdaleh took part in studies and research focused on windows and doors of old buildings in refugee camps. She also participated in more than 20 group exhibitions both in Jordan and abroad. Her work was highly appreciated in international festivals.

Dahdaleh says that people are free to interpret her paintings in any way they wish. For Martinez, Dahdaleh’s works exude the joy of painting.

“Consciously or unconsciously, Ghada crystallizes and enumerates within her work the entire symbolic baggage of the people of Palestine-its strength, long-lastingness, authenticity and inescapable reality,” Martinez said.

Finally, Dahdaleh said that her depiction of windows and doors is a dedication to preserve the value of the past. “I intend to continue my career in depicting doors and windows and showing people how beautiful these things are and their effect on our daily lives,” she concluded.