Rocks, naturally occurring objects that are ever-present but which often go unnoticed, are silent witnesses to the passing of time. Nhawfal Juma’at contemplates the paradox of immortality and the transient nature of existence through a study of rocks. To the artist, rocks are metaphors for the eternal. Yet beneath their immutable surface, they are evolving. This exhibition invites viewers to reflect on how these everyday objects capture human imagination and symbolically act as counterpoints to a world fixated on the idea of legacy. 

Drawing upon his interests in metaphysics and the mysteries that lie beyond earthly existence, Nhawfal’s ruminations manifest in drawing, painting, sculpture, and text. A sculptural installation of rock-like forms and renderings of floating rocks evoke a sense of being suspended in the infinite expanse of time and space. This exploration extends to an archival display featuring rocks and ceramics alongside the artist’s philosophical ponderings and sketches. This exhibition reflects on man’s unending quest for knowledge and understanding in the face of the fleeting beauty of life. 

In Conversation with Nhawfal Juma’at

In "This Is Where We’ll Part: The Perpetual Ending of an Immortal", you explore the idea of the eternal through rocks. This builds upon your ongoing interests in working with materials or everyday occurrences that often go unnoticed. Could you expound on your relationship with rocks and what were you looking to surface through these objects in this exhibition?

To some extent, I have viewed rocks in an anthropocentric way, personifying them to the point of empathy. I am fascinated by the possibility to encounter anomalies and irregularities on the surfaces of rocks. Each rock is unique in character, design and form. To understand that rocks are formed through a cycle of creation, change and destruction makes them feel even closer to us.

Metaphorically, I see rocks as beings that exist for a prolonged period, outlasting a human lifetime. In a poetic way, it is sad that such primordial entities, which I feel are witnesses to the passage of time, are unable to speak or shed tears.

One of the strands that consistently runs through your practice is an interest in the spiritual, philosophy and in particular, metaphysics. What draws you to these fields of studies, and how does your research and explorations into these fields influence or shape your works?

The decision to seek knowledge and overcome barriers sparked my interest in metaphysical matters. As one might vaguely recall, the full consciousness of memories and events likely only emerge around the age of four or slightly later. In my early years, when I was probably seven or eight years old, I began to ponder the existence of a "proto-soul", especially before sleeping. I would contemplate the precession of the body, soul and mind. The concept of precession refers to the gradual rotation of the Earth’s axis, caused by the gravitational pull of the Sun on the Earth’s equatorial bulge against the backdrop of the constellation. This celestial rhythm is akin to the idea of sleep, where dreams and reality intertwine, reflecting the "separation" of the mind (stars), body (Earth), and soul (Sun). This curiosity prompted me to explore ideas of the hereafter and possibilities of the world beyond.

Another key influence is a verse from the Quran, specifically from the chapter Al-Ikhlas (The Purity, Sincerity, The Refining): “wa-lam yaku l-lahū kufuʾan aḥad(um)”, which translates to “Nor is there to Him any equivalent”.

There are certain symbolic motifs that recur in this exhibition, for example the pyramid and spaces marked out on surfaces of objects, that can be observed in your earlier works as well. Could you shed light on these motifs?

After years of examining and interpreting the world through art, I chose to simplify the fundamental forms that compose the visual world. This led to a profound appreciation for basic three-dimensional shapes like the cube, tetrahedron and sphere. I translate these shapes into symbolic representations of what makes us whole: the cube (body), tetrahedron (mind) and sphere (soul).

Each translation of form was conceived through visual observation of its shape in relation to the characteristics of the three aspects that give us life. For instance, the tetrahedron or triangle, representing the mind, was chosen based on ideas of stability (grounded on four points, signifying clarity and power) and instability (grounded on one point, evoking a sense of conflict and anxiety). Similarly, the cube or square was selected to represent the body due to the concept of vessel stability (stable on all sides) in physical realism. The sphere or circle symbolises the perpetual renewal of our soul. It signifies a beginning and yet is trapped in the infinite cycle of totality.

I am seeking to create a visual language that is accessible, universally understood, rich in metaphorical significance and which allows for diverse subjective interpretations.

What were some of the considerations you had when planning and deciding on the works and modes of presentation in relation to the Community Wall space?

Every exhibition is deeply site-specific, with the physical characteristics of the exhibition space significantly influencing how the artwork is perceived. At the Community Wall, I noticed two primary paths viewers would take when navigating the exhibition: by escalator and elevator. I wanted the flow of artworks to reflect a shift in dimensions along these routes.

From the escalator, there is the series of abstract sculptures The Eternals I, II, III, IV which represent the shape of souls, transcending twilight and reaching beyond. As there are large windows flanking one side of the space, the sculptures’ appearances morph depending on the time of the day. To gradually approach via the escalator builds anticipation, drawing you into the artworks.

The narrative then segues from this otherworldly dimension to a metaphysical space where past, present and future coexist. The Archives features studies of rocks as immortals and potential in how they may possibly influence my future explorations. The distance between the viewer and the artwork mirrors the journey from the distant past to the present-future.

The final two artworks guide you back from the skies. The Elevation depicts a group of rocks that seem to ascend to the unknown while The Ascension shows a rock that is bound and resisting its constraints. The proximity of these works to the walls reflects how confined we might feel as beings while suggesting the potential to endure and transcend our limitations.

Text features significantly in your practice. Please tell us more about the role it plays in this exhibition and also the thoughts that shaped the exhibition title.

I truly appreciate that text and language serve as recognisable symbols carrying profound significance even without visual support. They form the social thread that unites us, creating a unique picture for every individual. The titles I give to my artworks or exhibitions are deliberately crafted as standalone pieces of work. For instance, the four aluminium sculptures were titled, The Eternals I, II, III, IV, to emphasise the idea of longing for something that is perpetually out of reach. There is a strong connection with something that is not present where a distant image appears, a sense of an ending.

I also enjoy using ironic or oxymoronic phrases that expand and contract based on their expression. The phrase “This Is Where We’ll Part” implies a separation in relationships and evokes quiet, sombre moments. Departing brings a sense of freedom and progress, whereas in every small moment, one experiences both life and death, hence “The Perpetual Ending of an Immortal” in the exhibition title.

This Is Where We’ll Part: The Perpetual Ending of an Immortal by Nhawfal Juma’at is on view at Esplanade Mall Level 3 Community Wall from 24 May to 22 Sep 2024.

Join Nhawfal Juma’at on Saturday, 31 August at Jendela to hear him share more about his work.