Christilla, Rabieh Lebanon 2010
“The room will be the first cocoon a girl creates for herself, of herself. It is the place she first attempts self-expression onto an environment. The development of a room shows the progress: pink gives way to glitter, stuffed animals to figurines. Pictures of animals are replaced by pictures of people and with objects no longer selected by a parent. Then to these she adds her own creations and soon the walls are taken over, and the closets, and the bed.”
ABOUT THE EXHIBITION
"The girls in these photographs willingly opened their doors to an outsider, trusted her, shared their intimacy with her and exposed themselves and their vulnerability. Rania attempted to get to the soul of each girl, to represent each one as truthfully as she could, and, by capturing each individual, to justify their trust in her."
– Susan Minot
Rania Matar has produced an exhibition and a book of unique and subtle power. Focusing on contemporary young women from vastly differing cultures in the United States and Lebanon, her project, A Girl and Her Room, reveals the complex lives of her subjects in the unique setting of the girls’ own rooms. Besides the expected cultural and economic differences and similarities that inevitably are drawn out using such an approach, these portraits of the girls and their bedrooms—reveal a dizzying array of personalities, dreams, hopes, wishes and frustrations in settings that are clearly expressions of the girls’ individual identities. The nuances shown in each room, and in the portrait of each young woman, reveal an acute photographer’s eye for telling detail.
Rania Matar started out this series quite modestly documenting the transition from childhood into adulthood of her own daughters and their friends through the turbulent teenage years. That most elusive of quarries: catching the metamorphosis of free spirited, complex, layered and multi-faceted personalities “mid-flight” each on their own unique journey to self and adulthood became Matar’s quest.
Rania Matar was born and raised in Lebanon and moved to the U.S. in 1984. Originally trained as an architect at the American University of Beirut and Cornell University, she studied photography at the New England School of Photography and the Maine Photographic Workshops in Mexico. She teaches photography at the Massachusetts College of Art and Design and in refugee camps in Lebanon.
Matar's work focuses mainly on women and women's issues. Earlier projects recorded the lives of women and children in the Middle East, and over the past three years she has completed A Girl and Her Room and started a new project L'Enfant-Femme. Matar has won numerous awards, including the 2011 Legacy Award at the Griffin Museum of Photography, 2011 Massachusetts Cultural Council artist fellowship first place at the New England Photographer Biennial, Women in Photography International, and the Prix de la Photographie Paris. She has accumulated honorable mentions at the 2010 UNICEF Picture of the Year Award, the 2010 Lens Culture Exposure International, the Silver Eye Center for Photography Fellowship, CENTER and the Photo Review. She was selected as one of the Top 100 Distinguished Women Photographers by Women in Photography, and was a finalist for the distinguished Foster Award at the Institute of Contemporary Art, Boston. Her images are in the permanent collections of several museums worldwide.
A Girl and Her Room, chosen as a top fifty winner in Critical Mass, is Matar's second book published by Umbrage Editions with essays by Anne Tucker and Susan Minot. Her first book, Ordinary Lives, was published in 2009 by the Quantuck Lane Press.
All images are pigment inkjet prints.
Click HERE for press articles and official website.
“…the girls in her pictures, like so many adolescents today, seem caught in that precarious balance between pensive and insecure, on the one hand, and mature beyond their years, on the other. With an artist's unerring eye and a mother's sixth sense, Matar captures the horror vacui of these private spaces in all their glorious color and intricate detail, somehow making us feel like privileged insiders who have inexplicably been invited past the "Do Not Enter" sign on the door!”--Karen Haas, Curator of Photographs, Museum of Fine Arts, Boston
|Danielle, Boston MA 2010||Shannon, Boston MA 2010||Anna, Winchester MA 2009|
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