Translation and Interpretation

Translation destroys language walls and illuminates the gestures, assertions, and utterances of other nations. Translation heightens our sensitivity to the sensibilities of foreign cultures and customs.

Center for Translation studies

الترجمة تهدمُ الحواجز ما بينَ اللغاتِ وتُنير تلميحاتِ وتصريحات  وما تنطقُ به الأُمم الاخرى. الترجمة ترفع احساسنا كيْ يلتقي باحاسيس واعراف ثقافاتٍ أجنبيّة أخرى

(مركز الدراسات الترجمية في دالاس)

Thus, as translators we cannot take anything for granted. We must be involved in a constant process of unlearning, because the realities and expectations of our own culture are not necessarily the same in the other culture. Not only that, we don't even know whether our own cultural and social situation wants to open itself up to an influx of ideas and perspectives that are prominent in another culture. In other words, if we plan to take our cargo to the other side of the river we must worry about the nature of our reception. We are never sure whether what we plan to deliver will be met with open arms. Will we find people on the other side who are open to receive what we bring with us, do they want to interact with us or are we going to impose ourselves on them.

Rainer Schulte

ولذلك، فإننا كمترجمين لا يمكننا ان نضمنَ كل شئ. يجب علينا ان نحسب انفسنا غير متعلمين، لأن آمال وواقع ثقافتنا ليسا بالضرورة مطابقين للثقافات الأخرى.

وليس ذلك فقط، نحن ايضا لا نعرف فيما لو كانت ثقافتنا وحالتنا الاجتماعية سامحةً لنفسها بان تفتح ابوابها لتدفّق الافكار والآفاق البارزة في الثقافة الأخرى. وبكلماتٍ اخرى، اذا ما اردنا ان ننقل بضائعنا الى الضفّة الأخرى من النهر فيجب ان نقلق بشأن طبيعة ما سنراه. لا يمكن ان نجزم فيما لو كانت خططنا بشأن ما سنسلمه سيلائم الغير، ويفتح ذراعيه موافقاً. سنقابل اُناساً في الضفة الأخرى فاتحين ذراعهم لاستقبال ما جلبنا معنا، فهل يريدون ان يتفاعلوا معنا ام سنقوم بفرْض انفسنا عليهم.

راينر ستشلت

Seven Eyes Stone

Envy Protectors

By: Dina F. Ali Faidhy

The seven-eyed envy protector has been an essential put-on wear since ever in Iraq. The folklore shaped the little piece of decoration, and it was still a belief to carry on old and present domestic faith, especially for women, to protect dear ones and precious things from getting hurt by envy's radiance. The color blue symbolizes relief and is a sign of water. It enables the piece to suck and hold evil desires once burst from the opposite.

The Sumerians believed that once evil and envy's radiance is divided and spread into seven directions, it will become harmless and have no effect when it hits our bodies. That is how the Seven-Eyes works. They used pinched, blue stones with seven holes, and lately it was given the local name of The Seven-Eyes stone.

Pharaohs of Egypt did have another vision indeed, but almost the same idea. They used the blue stone, turquoise (feiruz), and gave them the shapes of rings and other accessories to suck up the envy radiating from others.

Envy protectors in my culture have a strong impact upon people, the same impact by them. A new house will by no means miss to hang one of those protectors especially when it's finished and ready to live in. A beautiful girl should wear one, otherwise she might be hit by an evil eye and fall sick. Craftsmen have found a peaceful profession instead of an evil one by using such norms.

Inside local streets of Baghdad, various pieces of blue stones have shaped themselves to match all kinds of artificial figures to protect envy, while art and abstract exhibitions used these forms to authenticate past beliefs into modern forms and rights.

It is wonderful to retrieve such old traditions and norms and maintain practicing them as well. If my culture trusts The Seven-Eyes, I wonder what other cultures use for envy protection? So comment and share to view other stones!

Caricatures To Reveal a Man's Soul

A Contest for Caricatures

 

 

Wonderful features revealing lost spirits that found themselves re-shaping and embodying different angles and curves, to jump over past ideas into new prosperous ones..

 

By: Dina F. Ali Faidhy

Drawings by: Mustafa Ali

A perfect balance does not necessary refer to a perfect choice!

Going through "Art" contests and exhibitions in Germany would no doubt demands a strong academic artistic aesthetics, such aesthetics is embraced by an amazing technology and modernism as an art itself. Mostafa Ali had made his life go through such boost modernism as the hardest choice in his life, to work his fate out and in, as a German citizen of Iraqi roots that once, had crafted painting and art in early youth. With a medical scientific degree of veterinary kept aside, and a hard time labour work enduring thick horizons of continuous snow, he put his beloved art and past tough courses of painting on a high shelf of good memories and went on fighting for better life for him and his family. It was always the same answer: "No, I don't have the time to draw now", whenever I asked him about his hobby and natural craft. "I keep old drawings aside now, I'm not intending to go through any contest yet", was his reply whenever I asked him weather he participated in an event or not.

It seems I was never had the chance to feel my brother's original person. I was seeking the soul that I had near me as a mate, since ever.

Fortunately, and at last I had the chance to see his drawings again. I would thank his vacation from (work mania) to open drawing's gate wide, and let him draw these fine and wonderful caricatures to reveal lost spirits that found themselves re-shaping and embodying different angles and curves to jump over past ideas into new prosperous ones.

The contest was asking for symbols and decoration designs, maybe figures to explain present problems more than my brother's caricature curves and bodies. Having graded as "Ideas that stand of their own" was indeed a stand for him by great specialists; in my opinion strong enough to encourage him to go ahead, with a little pity that they did not take him inside contest court. That missed contest of caricatures was indeed a contest for my brother's deep; to catch it once again after a long time of struggle.

Hard times can be forgotten once a pen, or a brush, dances freely and willingly on a platform of beloved features buried inside one's mind years and years ago.  

Mostafa's soul was revealed by simple lines and colours; they are calling for peace, love and simplicity figuring one man and one woman as mates sticking together for better and for worse, leaving no chance to say "no". The one shaped figure and the balanced pose, have strong message of keeping up, and never surrender, while global signs and tags brought a nice strategy of faked symbols to cheer up cruel and hard present!

Frameless and freely hanged in the air though your drawings and paintings are left; they had sure brought their attention. Standing of their own, surely they are as they said; made me stand up and respectfully, for having my brother's soul mate back.

FIGURES ILLUMINATE DARKNESS OF THE SPACE

Review of Betool Fekaiki's Works

(Tattooed Body)

Author : Salman Al-Wasity

Translated by: Dina Fadhil Faidhy

One who can take a look at Betool Fekaiki's latest works when entering exhibition's hall, can definitely feel that there is a "light" coming up from these works; or in other words from the figures that live in its spaces. These lights soon go through the heart to make us listen to Asian and Arabian music of "Nahawand" and "Saba" melodies, pointing at the same time to texts written for women lived within two rivers, or within two wars; or maybe more..

Distances were left between two wars or more, waiting for a poet or a writer to throw letters there, maybe to become a cover for those nude women whom were distracted by sorrows and defragmentation of days' pain, and it’s the same nude women who became lucky when covered by the artist's colors to make her feel warm and safe from cold loneliness when the beloved were gone, and wars drift people towards immigration to the  distance..  and it's amazing how these colors mixed with wounds and scars to drink from,  and then become the echo that repeats their screaming inside the recipient, to transform recipient into a visual reference travelling years and years back to a still wet traces longing for women fragrance to be touched.

In this exhibition, faces were absent, and the artist did not want women beautiful faces and features take away the textual center of the figure (the body).. these bodies have an amazing power to shorten, interact, then burst out these interactions and melt them into the place that surrounds them and produce images and stories to affect us after being reformed in such a tremendous way reflecting the inner soul of the artist and accompanied by her tender feelings. The recipient reaches these images and all his senses celebrate beauty action, in spite of grieve for women and their brutal actual reality in the artist's homeland and other Arab homeland.

This is why the artist Betool's women, capture who ever looks at them. They are taken by death and life sights.. sorrow and love.. the restrain to burst towards a world free of death scenes and eternal destruction. The artist's fingers tattooed them with seduction and that is why the recipient feel attracted when looking at them at the first time, fanaticizing the magic living in them. When the recipient starts to read the visual text, soon his senses touch their tournaments along time surrounds them in a way that shocks his or her heart. It seems that these tattoos have stored history of these women.. and here lies the beauty of technique created by the artist inside recipient's conscience, which is part of art's aesthetics, when painting inspires you a visual text to be set as prelude to another one, even more beautiful and at the same time, more articulated expression. 

The method of shortening in Betool's work reached its peak in 2007-2009, and especially in many of this exhibition's works.

Faces, and body parts were absent; and the focal was the "body" as an essential artificial built. Paintings were built by the visual psychological text for these bodies, and most works present bodies filled with figures and sketch symbols that sometimes form triangles, rectangular or cubes. Even when those figures are irregular, they look like some figures of Sumerian and Babylonian symbols. They show visual pattern in Acrylic colors on papers, to be presented on glass hanged plates. In this way, works become special and equivalent to visual purposes. The recipient soon feels that these bodies are hanged in between heaven and ground; though they are nearer to ground due to the "place" action, as they are tattooed with scars not in heaven.. but on the ground.

The other special feature of these works is their resemblance to sculpture made on paper. This feature gives the artist's works another dimension. Sculpture as we know, depends on place atmosphere to be occupied where the block take place in the vacuum. As long as these works were presented on glass plates and have no perspective when were created at the moment of the artistic revelation; this feature involves visual elevations on bodies in order to discover their aesthetic composition such as their twists, gestures, and movement from the middle towards the outside limit, and again from the outside limit towards the middle.. then these compositions becomes the text that reflect theme of these works, and the moment of conscious compassion of the artist at the time of composing, or artistic creation of these works. The absence of the head or the parts in these bodies led to moments of silent and amazement by the recipient as if, the artist herself, meant the atmosphere of spiritual meditation; a revelation lived through moments of grieve, for these bodies. Accordingly, the black is the right color for such bodies to, and in a simultaneous way, feature the sadness of black.

In these works, the artist relies on color technique that differs from rest of exhibition paintings. The artist does not use color mass intensity or color crossed blocks, but otherwise, she uses textual color symbolism. She simply wanted to express the idea of the emotional content that brings up elevations to take us and through humanitarian history, back to hundred years ago. The artistic vision of each artist is nothing but transformation, (transform of sensual impressions received from outside, and produce other aesthetic forms leading to a new visual images), following interactions inside artist consciousness, this sensation is to be transformed and translated to sensed forms and symbols on a platform of painting, to be interacted then, by the recipient senses.

The artist presents "light" transparency, and a flow of color in such an accurate and coordinated harmony. Other colors do work for perfect color construction that depends on dark background like dark blue mixed with black brush strikes, or burned brown mixed with black and red ones. In some times, the artist is satisfied with solo color as the black or the burned brown, in some times cold blue. This construction of colors involves color contradiction, especially with hot colors in order to form the bodies, which led to an amazing event, I personally would call it (color sunrise), and that is why the recipient feels the light that comes out from these scars and towards all space that surround them.

  This is what made the artist Betool Fekaiki special. They have aesthetic features that capture the recipient's heart in spite of their hidden sad stories of women through history, whom were suppressed by wars, political and social disorder that dragged women to backwardness, and made them live in closed civil and social lives.

In this exhibition, we find no faces for cities, or even their elements represented by doors, dooms and old windows as we witnessed in earlier works and exhibitions. Woman has become the whole city with its all details. Many years ago the artist painted woman coming out from city's curves; showing how cities can present their most beautiful forms. In this point, the artist was so close to the style of (abstract impressionism).

These works have abridged all cities wandered by the artist and  memorized them in her mind. I wouldn't say only Baghdad and all its suburbs and streets, but cities and suburbs of Damascus, Amman, Cairo and Lebanon including their women. All these faces and bodies whether were for women or cities, have indeed shortened themselves to become the solo face and the only body for dozens.  Therefore, we can't see clear features of these faces and accordingly, the body belongs to an anonymous woman, or simply "body". Is there anything more beautiful than this humanitarian perspective? The artist carries on and make us listen to colorful Baghdadian and Arabian stories, sometimes sad, but most of times exciting ones. The transparent grieve is converted to women whisper, and childhood becomes an aesthetic dream extends as a blue spectrum, or green grass careless of all time or place obstacles where evil resides. One of the amazing work with all its illuminated colors, features two girls carrying flowers and walk alone narrating exciting stories not paying attention to what is happening outside. They arrived safely with their flowers and that is the message most women and men should receive.

In these works we find a connection or resemblance between women bodies and flowers or trees. This can be witnessed in almost all stages of the artist Betool Fekaiki's work experience. But in this exhibition we find the bond that rises in such a strong way to resemble fires, and destruction that hit cities and take away trees and flowers. It’s a temporary ruin, that takes only a little bit of time for these plants to regenerate again, and again. The resemblance and connection arise here. Although of all destruction and fire flames that affected these bodies then distorted by scars, wands and burns, they are still capable for staying still and alive by means of place, then by time they grow and renew themselves.  

There is a place connection among elements, like the city, women, and trees. Role placements are involved, and imposed by the embodied idea of the visual text, also the mental and the emotional response of the artist. Betool Fekaiki wanted to create the equivalent objective of aesthetic text.

In spite of all destruction and war dust that embody these figures, in sort of an oppressing way, one can still feel the light that lives in them. Drought of days and absence of clouds can be seen, but yet; there is greenness that imbeds it. Here, the artist has let the screaming to burst out of scars and bends of brush to let us hear strong echo of her works spaces. She paints a woman, and writes down her history through grieve, and in the same time she paints details of  a woman's dream and  feminine waves of her fragrance that reaches every place of this world being half day..

half night.    

                                        

Translation Work Opportunities in Amman

A brief prelude and a personal journey inside translation services opportunities

By: Dina F. Ali Faidhy

                                                                                                

 

Brief summary - With strong competition among young graduates, and weak opportunities for other than Jordanian nationalities, jobs are still available and especially for marketing and industrial sectors, and more for constructional and real estate faculties. Rising up of living buildings and supermarkets including luxury facilities are really paving un-walked roads ahead for future work involvements and chances. Labour are the ones to have higher levels of hiring especially for workers who accept lower wages, sometimes even half of it, every month or - sometimes every two or three months.

 

Asking professionals about low hiring standards compared with past years, the reason is attached to new and fast harsh political events in Middle East and the uprising usage of Jordan as a shelter from sectarian battles in countries nearby that effected transportation and companies general well being.

Personal Journey – I was legally registered as a resident Iraqi citizen in Amman, last May, 2012, attempting to settle down and start a new life. Having my translation profession "tag" listed in my resume over more than 20 years, and a small office of computer and translation services back in Baghdad, I found myself obliged to take the overview chance of translation services strength in Amman where many leading enterprises and companies are building up larger ones for a long time and accordingly; competition is the label. All jobs including language facilities are listed in weekly advertisement posts thrown every Saturday at my apartment threshold. Addresses are well informed and translators are widely needed. Aside from upcoming demands for immigration's services of the Middle East populations to Western and European countries, to need help with filling forms and other translation services by authorised translation bureaus and offices, leading foreign companies and agencies had set their translation services dealers and especially, agencies that serve governmental issues such as banking and legal matters.

 

Coming from Iraq did not have that strong impact, or any impact at all, on people who interviewed me, keeping in mind that Iraq and unfortunately, had missed a lot of world's new technology and professional knowledge last years due to war circumstances. Other than political reasons, profession's acceptance concept is completely different and I was refused to commit to education occupations such as teaching, according to work basic legal permission rules, and lately Iraqis are not preferred to be hired in any job due to political complications of unfortunate incidents taking place every now and then, except for some rich families who managed to move their assets and accounts and started big businesses long time ago. Investors are really welcome, but once they associate Jordanian business men in joint trade or alike projects.

 

I tried not to miss any translation test, foreign organisations and companies' events, and interviews based on my application job search through websites. World organisations need for additional positioning always make sure to hire best and qualified translators regardless of their nationalities, but only those who have strong same work background and same organisational profession and previous work.

Meeting with professional translators here in Amman was the big hit for me. Some Iraqi publishing agencies and other trade companies offer job opportunities here and there but still, on the surviving level. With my humble editing obligations to some cultural networks and media, I felt overwhelmed to be known for some. The only work opportunity I had and still having, is a freelance based one. In other words a temporary translation tasks from foreign agencies and translation companies that is - and of course with low wages - and considering current situation, fair enough!

Well, I am still in Amman now, enjoying warm weather and lovely malls but with future plans ahead to travel and settle down in another place. Though some people avoid such repetitive moving from place to another issue, I find it better than waisting time and money to build a house with poor base. Future plans are drawing themselves willingly, and sometimes forcing themselves to find a way out. 

Strictly Iraqi: Neither Sunnis nor Shiites

A Group of Intellectual Iraqis to "Respect" both doctrines and announce innocence of its more than 1000 year blood, and state a "Strictly Iraqis" one instead..

A group of cultural and intellectual Iraqis had announced a respectful un-belonging to either doctrines of Sunnis and Shiites days ago describing more than one thousand years' conflict and blood sheds between Sunnis and Shiites as an "absurd" war that repeats itself over and over again and merely means nothing.

The announcement came through Iraqi poet and writer Ahmad Abdulhusein and published by news papers such as Shaafaq News and social networks through Facebook saying: "We are a group of Iraqi citizens, and nothing would gather us and make us stick together other than love to Iraq and the wish to live in our beloved country in peace. With anxious watching eyes, we observe what is happening lately that put Iraq on a dangerous edge of another doctrine and civil war".

This intellectual arising came following the intense situation in Anbar Province of west bank of Iraq, where Iraqi Force's tanks spread around the demonstration sit-in park getting ready to strike people gathering to protest since more than 200 days, and following severe contradicted reflected one in Hawijah when innocence people where hit by SWAT special Iraqi Forces preventing them from protesting to further join main tribal groups.

"We belong to neither of those two doctrines.. We are innocent of a believe used in the past and still is used as a war weapon to kill and rupture homelands" said Abdulhussein revealing his and his group's wish to further legal claims instead of civil war in order to maintain Iraqis' rights, and claimed for groups' legal entitlement to identify them as "un-belonging" one to either of Sunni or Shiite doctrines.

Such claim would definitely demand secure and protection from Iraqi authorities to live in humanitarian atmospheres where Iraqis beloved ones would never get killed because of their believes and principles; and where religion is understood as to serve mankind, not the vice.

Extracting Light from Soul

                                                                                

Author   : Ahmad Farahat – Review of Betool Fekaiki's Works

Translated by: Dina Fadhil Ali

Color would never be retreated from a painting unless creator of a fine art composition wants it to.  And this color will not retrieve unless the artist starts to feel different; to fly into the absolute searching for new horizon, or new feeling to show this color on his or her painting. Surprisingly, in Betool Fekaiki's paintings color is absent and replaced by light to work as an emitter for color, not the color itself.

Maybe, Iraqi fine art painting is featured with this technique to show color then find a stream for it inside gelatinous frame of the same painting. The marvelous fine art artist Betool Fekaiki has found a new tendency away from the Iraqi school. She mixes colors and regards them as an instrument to describe feelings, not a reflection of sight, then uses the color as an internal logic that shortens distance between eye, and mind in order to, not just to dazzle, but to give a good chance for gathering information about her painting. Surprise comes consequently, and it is sort of stored one, to overflow what she want to say and declare as a sensual exposure here, and there. The retreated color is used out of visual effect to clarify relationship between her feelings and her psychological depth, with what appear on that gelatinous frame of her painting.

I do feel that there is no color in Betool Fekaiki's paintings, and I figure the black read or the pale yellowish green to make me surprised though, and gazed. When I look at one or two of her paintings, I see colors overlap with each others to express an amazing contrast, revealing historical usage of colors and composition searched by the artist Betool Fekaiki herself. Basically, the painting expresses her as she was drifted away from an fine art dumped in complexity, to expose symbolic self, and deep psychological question of a mythology and a culture still in control of her paintings, keeping an appearance that moves away from modernism temptations and post modernism. The spirit of the painting is streaming from a transparent fine art, and a love for a light without a color, to narrate without time or space break, the weave of the artist's culture in spite of her usage of mythology as a base, more than using search for an immediate culture. This is because the artist is looking for what she would feel, not what it would be felt or be like. In this point the free feature of painting arise, far away from modern fine art argument issue, and then go through a visual space of isolation, as this one in her paintings.

The artist attracts one's soul through her artistic fingers, and she knows very well how to use her absolute conscious to build a painting and attracts the eye to a clear point and to transparency, while the subconscious stores all potentials to present different cases, even branching ones to gain a painting that expresses a stored potential for stories with the world, and suffering of a homeland reality, ones occupying big space, also a chosen exile of which she interacted with, to produce an unaffected mixture with different culture; a mixture preparing a mythological vision path searched by her long time ago. Such path involves Babylonian, Assyrian, and their visual symbolism. Every painting has a relationship with another, and the dynamic of fine art is what refers to this relationship, and the fine art dynamic is what the painting is related to, like a cut off one painting from another painting, then to complete another, like chapters of a novel. Betool Fekaiki searches for monitoring and shaping the world, but the world she shapes in one painting does not believe in the other. The painting scene would go out cracked, like her homeland and of which she came from carrying all her potentiality of light style to express her soul through the mirror, and to reflect her deep humanitarian and contradicted inside. Her continuous anxiety accompanies the painting in the stage of coming out and before going to the following up mode; it involves a spitting image of her sobbing epic bursting out from one painting to another. In the frozen silence of death, she can transfer the visual image and by using branched colors; the ones have just come out from womb of earth and its sand, then she uses a tender sense to make the dead element, an active one. This element will narrate all fine other arts' elements possessed by the marvelous Betool Fekaiki. Although her ornamentation is to support art tendency, and is considered as a great tendency inside her fine art, another painting shocks you for a while by its paralyzed and frozen narration, to prove her dynamic and statistic world, the confluence of time and place. Sometimes all these disappear. Once again, it proves that color can clarify or hide, fine art narrative features.

Faces, streams, and letters. They are all elements that find their way to her paintings the moment she gets ready to draw a new question on a white new frame, and then she has to brake the limitation of the white color on a canvas, or paper, or a mural to make it a new story. The gelatinous frame is made. This frame extends from a not understandable issue, and an unseen light mixed with a dominant color of subconscious and deep feeling, at the moment she starts to paint. It soon branches, or disappears, or even gets along with light, maybe get affected by its direction to express face features, or letters of fine art story she wishes to reveal.  The color is consistent and sometimes is not, but in the end when your soul opens its path inside the painting you can ask questions like her about a world or a history, the painting carries. Maybe, the face in her paintings is hers, but only is a hidden face like layers of soul. I feel, each face in her paintings is hers, and the same element, but its carrying one feeling as if she has cut out long slide of her soul to show the face on painting having different extracted feeling from her all feelings. It is rarely when you find numeral elements in her paintings. Isolation is a hidden feature between bends of gelatinous frame of painting.

When the painting is crowded with a group of elements related to detailed tattooed narrations, one can be sure that Betool is talking about a mythology. But when she is isolated, she speaks of herself. In both cases she narrates an impressive fine art that depends on absolute roots, and she believes in them and would like to overwhelm the world using the deep of her paintings in order to reach the optical recipient's mind.

The artist uses the burst, the formal slow reveal of the form itself, and the succession of forms' order regularly, in her different topics without referring to them by name. In turn, she describes, analyze, judge, and evaluate them. This mean that her informing unity of related mythology is not built upon a mythological issue, or upon her growing up circumstance through a unified horizon of subjectivity. It is an idea that allows presenting subjects and humanitarian contents that she is working on.

I had the thought of  her forms of fine arts, that they have the feature of a limited method and description of firm or fixed style that prints its way to express more than an individual subject and concept.

This assures that modern arts and post-modernism is not based on groups of rules and academic orders anymore, neither other former well known sayings nor the readymade descriptions. Modernism has become artist self vision and the metaphors that coordinate with nature of things, not things themselves. They will be organized then, in a cognitive field according to what it is known about them, not a perspective that comes out of them.

Thus, the expressionism of Betool never was a strictly descriptive one, but instead, it is an emotional self expressionism, where she reviewed what has been given from reality to rebuilt it after analysis, then releases it from its old form and gives it a new vision, affected by her changing position as a conceptual self, not a sight satisfaction self. Her shape transformers comes out according to expressing codified order and through a style where the realistic form fades in it, as soon as this form appears.

An amputated body, an uncompleted, and another condensate one, other bodies inside another, that is how the body and the humanitarian tattoos accepted her brush strikes so that she will know how to narrate her cultural and inherited pains at the same time. She knows with full conscious that almost would turn into subconscious, the essence of the important body as an element, of which Betool Fekaiki raised several questions about it, and how it entered other worlds where spirit almost cached it, to make it a living thing. This body is sensually amputated, not physically. In other words, it is infected with schizophrenia, a complicated psychology that appears in this element of the body presented as a female, and fertile of deep culture with deep conflicted denial.

The gelatinous frame which includes all these elements is the spirit of the creative who never stops building her fine art, unless she had the thought of rebuilding it. I feel there are consequent amendments that occurred in the painting's text, in order to rebuild it or to visualize another one. This can be assured by the succession of the idea in different paintings, and the mixture of the mental and philosophical content of the creative fine art artist, with all of her painting's elements to make us realize in the end, that she thought of a full text, a text that relies on organic unity, or a spirit unity, which is in its origin has been created to unveil the curtain around Betool Fekaiki's soul, who insist on ending her experiments in each painting, but soon, she arises again, to insure her consistency with her head, body and her spirit. 
Bibliography:

Betool Fekaiki

Iraqi Fine Art Artist, born in Baghdad.

Resides in London

Art Paintings with Oil on Canvas, Water colors, and Ink

Paintings from Betool Fekaiki Web site: www.betoolfekaiki.com