SHIREEN TAWEEL IN HER STUDIO IN 2018 MAKING THE WORK TRACING TRANSCENDENCE. IMAGE: COURTESY OF THE ARTIST. PHOTO: ELOISE FUSS - TAASA Review June 2022

SHIREEN TAWEEL IN HER STUDIO IN 2018 MAKING THE WORK TRACING TRANSCENDENCE. IMAGE: COURTESY OF THE ARTIST. PHOTO: ELOISE FUSS – TAASA Review June 2022

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This article was originally found in the edition of TAASA Review (Volume , Issue , Page 17).

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skills within the decorative arts practice of copper-smithing.

There is the research and experience gained from actively engaging in everyday ritual activities, and also by taking for example, a position as an understudy in various artisan’s workshops which grants me practical skills and informs how I marry processes and the legacy of cultural practices derived from an Islamic foundation, into my own vision for a piece of work’ (Interview with Shireen Taweel, 8 March 2021). time the artworks invited so many different viewers to consider these experiences and the values of these community spaces across Australia’.

She also describes it as being a ‘turning point’ for her as an artist (Interview with Shireen Taweel, 8 March 2021). For Taweel, tracing transcendence is ‘not merely an exercise in tracing the history of Muslims in Australia, it is the act of reclaiming the ephemeral and spiritual through a rhythmic unravelling and marking of the physical’ (Shkembi 2022: 10)...