With their brushstrokes, artists have been capturing emotions and chronicling history for centuries. Throughout the outbreak of the war, artists in Palestine have continued their visual storytelling as acts of defiance and as guardians of culture and memory.

'Awaiting', a striking oil on canvas, by Ramallah-based artist Rania Amodi showcases the portrait of a woman standing behind a clothes line looking out into the fields, hoping for the safe arrival of her husband, while staying strong besides her frightened child. She holds onto a piece of Keffiyeh, drying on the line. Worn by Palestinian peasants and Bedouins, the distinctly patterned black and white Keffiyeh has become a strong symbol of resistance. Through her evocative art, Amodi captures authentic personal and collective narratives in the conflict zone.

'Awaiting', is part of a group exhibition by four Palestinian female artists currently on display at the Artbooth Gallery, Abu Dhabi. Curated by Rula Dughman, founder of Bab idDeir Gallery in Bethlehem, the exhibition titled - Heritage, Memory and the Body, spotlights identity, displacement and the enduring power of the female form.“Art has become an important archival and documentation material for the Palestinian narrative,” says Dughman.“Artists are reviving and retelling the Palestinian story through their artworks.

Featuring works of Marwa Alnajjar, Fatima Abu Rumi, Rania Amodi and Dena Mattar, the exhibition is on view till October 31. Fatima Abu Rumi paints self-portraits against the backdrop of vivid Middle Eastern carpets designed with intricate geometric and floral patterns. One of her powerful artworks, part of the current exhibition, depicts a woman, balancing the weight of rolled carpets, she is carrying on her head.“I choose my subjects inspired by my visual world, my historical and personal environment to highlight them and put them on the map of contemporary art history,” points out Rumi. The artist, who lives in Tamra, Galilee in north eastern Israel, addresses the image of the Arab society from a critical perspective focusing on giving a voice to women while also presenting the region's rich cultural legacy.“The Palestinian woman is at the core of my work. The burden I choose to carry alone. I do not completely rebel against the norms, but I am opposed to submission to them when they restrict me or impede my dignity and humanity. The carpet is a symbol of a Palestine home and with that I combine the idea of a new leadership role for women.”

Before 1948 the Jaffa Orange was a much sought after fruit of the region, a shining symbol of the country's agricultural success, it was widely exported. But the 1948 war led to the expulsion of thousands of Palestinians from their ancestral farms and their lush orange groves. Inspired by archival photographs, artist Marwa Alnajjar recreated scenes of Palestinian men, women and families gathering the oranges through her art.“By painting these scenes I honour the memory of generations that lived through these times including my own family,” tells Alnajjar, whose oil on canvasses are decorated with gold and silver leaf. The exhibition also hosts her multi-hued portraits of Palestinian women, layered with intricate details and unique garment patterns. In one of her paintings, two Palestinian women seated beneath a pomegranate tree, wear long Thobe with handmade Tatreez embroidery, a craft perfected and handed down by generations of Palestinian women. The cross stitch pattern on these long garments show bunches of grapes, feathers, carnations and ears of corn. Alnajjar says,“Each canvas represents my family and my peoples' stories, their moments of joy, loss and resilience. I paint with layers of colours, gold and silver that reflect richness and hope and also educate people about the beauty and endurance of our culture.”

Even as the world witnessed the recently declared truce, the two-year long duration has left scores of people with visible and invisible scars. During this time several artists in Gaza took on the role of journalists documenting daily life with colours and brushes.“Despite knowing that they are risking their life these artists have continued painting. Digitalisation and social media have also immensely helped in spreading the reach of the artworks in creating awareness and support for the Palestinian cause worldwide,” tells Dughman, whose gallery in the heart of Bethlehem has kept the flame burning for the local art community.

Artist Dena Mattar lost several family members, her home, her studio and a large collection of her paintings during that time period. Fearing for her life and for the safety of her children, she recently moved to the UAE. “I love to portray the Palestinian woman showing aspects of her everyday life, conveying her suffering and hope for a better tomorrow,” reveals Mattar.

In her artworks, she incorporates myriads of cultural elements, patterns and colours, each a metaphor for the life she left behind. The female figure takes centre stage in her portraits as well, always adorned in vibrant, traditional outfits, reminiscent of the ones worn by her own grandmother, often surrounded by a village scene with motifs, inspired by Palestinian nature.

While Mattar took the hard decision to move to the UAE, Amodi, another participating artist, is holding on bravely in Ramallah. Through her art, she says, she is creating a space for empathy and dialogue, layering it with the compassion of a female perspective.“Art here in Ramallah is partly an outlet for what is happening, allowing us to calm the anxiety and the anticipation that we live with every day,” tells Amodi. She also roots strongly for the role of women in elevating the after effects of a war.“Today, I believe the female voice is more evident and this time they will usher in the real change as women are more likely to acknowledge weaknesses and convey the truth. A woman nurtures the spirit of healing as she is the protector of her home and her children. We do not need to cover our wounds, we need work to heal them,” she affirms.

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