[Lebanese, b. 1984, based in Vancouver, Canada]
Ghinwa Yassine views herself in constant negotiation having lived in transition between Beirut, Dubai, Jeddah, Utrecht, and Vancouver. Her work uses a variety of mediums including film, installation, performance, drawing and writing. Starting from autobiographical narratives her work expands to cultural and human concerns. For example, in her Inside the Coffee Cup she questions superstitions and rituals in the make-up of the Lebanese/Arabic society. Her Home Suspended installation deals with themes of displacement, having felt forced to leave her country fearing war and instability, and duality, living at the edge of two worlds, that of her religious family and kinship-driven country and that of her atheist nomadic life.
She often uses familiar domestic objects as a starting point to a story. “I’m fascinated by how much we can project on the objects that we as humans have created, or how these objects become memory capsules. For example, I can imagine myself saying I feel like a chair with a broken leg.” In one of her short films she creates a metaphor between her yogamat and her mother’s Muslim prayer rug. The resulting work is often a juxtaposition of film and objects that at first glance seem unrelated, but after experiencing them as a whole, one feels he/she entered someone’s private world.