Protest through Pictorialism; an Interview from the Palestine Exhibition with Nuray Abduyeva

Words by Evie Brett

Wednesday evening saw the opening of Cultural Resistance: Celebrating Palestinian Art, Culture and Heritage: an exhibition proudly hosted and curated as a collaborative project by the York Palestinian Solidarity Society and the Norman Rea Gallery. From painting and embroidery, to collage and poetry, this exhibition centres Palestine in a rich outpouring of artistic talent, fostering solidarity with the Palestinian people in the face of the Israeli occupation. Through an open call, artists were free to interpret the brief as they wished and were encouraged to let their creativity fly. One such artist was Nuray Abduyeva. I sat down with Nuray (albeit virtually and over email!) to discuss further. We chatted photography, Pictorialism and protest, exploring how art can be an act of resistance in and of itself.

 Please give me a little run down as to who you are and what your artistic practice is like.

Hi, my name is Nuray! My artistic practice involves photography, predominantly conceptual and nature photography. My photos can be characterised by bright colours, a soft focus and grainy quality. I draw inspiration from Pictorialism - a movement from the late 19th century focused on creating images that mimic art rather than provide an accurate depiction of reality. To achieve this, I usually use impressionistic editing techniques and image manipulation to create dream-like, ethereal photos that resemble paintings or drawings. 

Nuray Abduyeva, edited and manipulated images inspired by Impressionism. Photography.

What compelled you to exhibit your work in Cultural Resistance: Celebrating Palestinian Art, Culture and Heritage?

I was inspired to submit my work due to the ethos of the exhibition, namely an opportunity to celebrate Palestinian culture. I believe that this is particularly important amidst the current cultural genocide in Palestine as many heritage sites, such as museums, mosques and libraries have been destroyed. I also believe that using art as a medium to discuss the crisis in Palestine can lead to introspective and positive conversations which will be a refreshing change of tone from the overly politicised content we are currently exposed to on social media and in the news.

Please tell me about your exhibiting piece Great Britain Stamps - a Tribute to Palestine. What does it mean to you and in what ways does it highlight how art can act as a form of resistance against Israeli occupation?

While I tend to concentrate on photography, I decided to make a digital collage for this exhibition. British stamps have always traditionally depicted a portrait of the ruling monarch. However, in an age of growing anti-monarchism, this sentiment is no longer of great significance to the British public. Therefore, in this digital collage, King Charles' portrait has been replaced with various representations of Palestine - a cause serving to have a more unifying effect on the British public than the royal family. To reject tradition and to situate Palestine at the forefront of a British symbol represents the British public’s unwavering solidarity with Palestine. An alternative interpretation is that the portrait of King Charles co-exists alongside the representations of Palestine. This is to signify the grievances the royal family have expressed towards the situation in Palestine. Both interpretations demonstrate how the UK remains united with Palestinians and therefore how art can act as a form of resistance against Israeli occupation.

Nuray Abduyeva, Great Britain Stamps - a Tribute to Palestine, 2024. Digital collage. York, Norman Rea Gallery.

What was the creative process like to make your piece? How did you go about creating it?

With the knowledge that I wanted to create a piece which demonstrates the strength of UK support for Palestine, I started brainstorming how to represent Britain in the piece. I considered quintessentially English concepts (pub culture, a love for tea, incessant queuing), historical landmarks like Big Ben as symbols of democracy, as well as explicit representations of support such as photos of the pro-Palestine strikes. I decided to use British stamps as I wanted to incorporate the royal family within the depiction of the UK as well.

It was easier to think of depictions to represent Palestine as there were already pre-existing materials I could use, such as a Palestinian postcard featuring the Dome of the Rock and an antique map of ‘Palestine in the time of Our Saviour'. I decided to keep the other depictions of Palestine simple by using a Palestine flag and a photo of a girl with a hijab painting the word ‘Gaza’. 

I used Canva to create the digital collage by superimposing representations of Palestine onto a set of four King Charles stamps. I also added 'FREE PALESTINE' text to the stamps to ensure the message of the collage was clear.

In what ways do you think that creating art can be an act of resistance?

Creating art can be used as an act of resistance as it enables those who are oppressed or part of a minority community to express their collective dissent, pain, grief or other emotions induced by a conflict or other harmful situation. An example of this is how Mennatullah Hamouda, a Palestinian artist, paints murals on the walls of her school shelter to document the distress and suffering surrounding her in Gaza.

Art can also be used to express support for a cause and solidarity with the oppressed. For instance, the International Wall in Belfast has been transformed into a mural for Gaza, featuring artwork from several Palestinian artists, demonstrating overt support for Palestine as a popular tourist destination has been used to draw attention to the political cause. 

While art is perhaps less frequently used as an act of resistance compared to verbal manifestations of dissent (such as slogans, chants at protests or political statements), it is still effective at evoking an emotional response and uniting people. After all, if it was not effective then it would not be subjected to censorship from the government, as can be seen in many instances of oppression.

Nuray Abduyeva, edited and manipulated images inspired by Impressionism. Photography.

In what ways do you think that art is inherently political?

Art can be interpreted in a political context; it can be influenced by politics, and it can also be used to endorse a political opinion and to consequently influence the political views of others. While art is a product of society and an artist's particular set of circumstances, these two factors do not have to relate to politics. Art is simply a form of self-expression - this expression can be political, neutral or may have no meaning at all. It is also worth noting that there are several drawbacks to interpreting art through a political lens. For example, audiences may impose their biases and personal ideological views to force a political interpretation, ultimately leading to a misconstruction of the artist's original intentions. 

However, while it is not my view that art is inherently political, if this view is adopted then the question raised by George Orwell arises: is all art a form of propaganda?

Why do you think spaces like the Norman Rea Gallery are important for providing platforms to showcase the heritage of different cultures?

To start a conversation among students. To celebrate the various cultures present at our university. To showcase and preserve cultures which are at risk of being erased. 

Nuray Abduyeva, edited and manipulated images inspired by Impressionism. Photography.

Finally, what does 'Cultural Resistance' mean to you?

The use of culture (traditions, language, art etc) to raise awareness of a societal issue, express opposition to political domination and to promote justice.