Lina Alattar’s solo show Embracing Abstraction at the Hillyer Art Space this Friday, March 4, is the intersection of Alattar’s struggle with identity and decades of self-discovery. In 2011, Lina Alattar was just one of the 15,000 people who moved to Fairfax County. This time, her move was a relatively easy one from Maryland. But before that, her moves had required more mental fortitude. Born in Iraq, she left all she knew at 10 years old and moved to Germany, then Austria, onto California, then Nashville.
Each of these transitions pushed Alattar to question her sense of inclusion and identity. “When you look back, you realize [moving] was a good experience because everything changes when you move. The landscape, the architecture, the language, the food … it sharpens your senses.” The sense of bewilderment brought on by transitioning to a new culture led Alattar to her work as a full-time abstract artist. She connects the relationship between the loss of control of changing geographic location to understanding abstract art.
Her solo show is part of the larger all-media juried exhibitTypecast, which focuses on 33 artists exploring how “heritage, sexuality, gender, one’s body, race, religion and class often play a role in defining one’s identity.”
Alattar’s daily artistic practice and twice-daily meditation calms her mind. “There were too many voices in my mind. I just wanted to quiet my mind and tackle anxiety … Meditation is the answer to everything.” With this newfound sense of calm, she understands how “belonging is really more of a mindset rather than geographical,” she says. “I’m very comfortable in messy, chaotic, undefined areas.”
How do you deal with harsh criticism? Have you ever had a surprising comment?
Art is intended to be shared, and for that matter, I welcome and appreciate the feedback, especially from voices I admire.
Do you have any rituals?
I meditate daily. It clears my mind of distractions and allows me to focus on the tasks ahead. Meditation facilitates openness and creativity in me. As I start my day in the studio, music is a must and a key factor.
What are you thinking about in the studio?
It depends where I am in the process. But once I start a series of paintings, I try to minimize thinking and become more in tune to the movement, color and space of each piece. There is a certain energy that comes with the initial gestures and marks that I try to be receptive and open to. So it’s more of a clarity, an awareness and a presence rather than thinking. In many ways, it’s akin to being in an uncharted territory.
How do you know when you’re done?
I know I’m done when there is a sense of satisfaction, when there is no need to take out or add anything. It’s a dialogue between the artists and the artwork; it doesn’t ask for anything more. When you spend enough time with the work, you can sense the work’s completion.
Your three favorite artists?
Diebenkorn has always been influential in my work. Picasso, especially for his depth and relationship of color. And Maggie Michael, a local D.C. artist, for her large scale, raw and dynamic canvases.
Your greatest success and worst failure?
Success for me is to continue to push through in my work, to expand my skills and visual vocabulary. But if you really want me to tell you my greatest success, it is that I can wake up in the morning, walk to my studio and work. As for failure, I don’t consider anything being a failure. I learn as I go.
What part of NoVA do you visit for inspiration?
Being a member of NoVa art galleries; GRACE, MPA and part of Olly Olly provide me with a sense of community, which we need as artists. I love participating and being part of this thriving and supportive group of creatives.
Have you ever regretted selling a piece and why?
So far, I have not regretting selling any of my work. It means the world to me when my work lives in someone’s home. Original artwork has a way of opening up our living spaces and inviting wonder and into our daily lives. So I consider each piece a gift.
