Beautiful Photographs Relentlessly Capture A War-Torn Lebanon Without Victimization

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Amidst the violence and chaos ravaging parts of her native Lebanon, the photographer Rania Matar does not aim to make sweeping political statements about the Middle East; with her complimentary bodies of work titled Ordinary Lives and What Remains (now on display at Houston’s Bank of America Center), she hopes to capture the resilience of the human spirit. Fighting the photographic and documentary urge to re-victimize survivors of war, she offers a more nuanced picture of the lives of Lebanese women and children.

Much of Matar’s work explores global representations of femininity—in a recent monograph, she published images of adolescent girls inhabiting a space between freedom and familial responsibility, the childhood bedroom— and in Ordinary Lives, the artist’s powerful sensitivities color the otherwise bleak black and white war-torn landscape. In “Broken Mirror,” a young woman meticulously adjusts her veil before a shattered mirror, her perception of self seen as fractured by her environment but preserved within her emotional core. Similarly, “Dead Mother” captures the veiling process as a ritual connecting female youth to a monolithic photograph of the matriarch, an undercurrent of modern political and social debate serving as a relentless backdrop.

What Remains operates as an arguably less subjective series of architectural photographs, documenting the aftermath of 2006’s war between Israel and Hezbollah. The series separates itself from Ordinary Lives in its deliberate use of color; the bright blues and yellows read like surrogates for the displaced families that once inhabited the violated spaces, offering a powerful tonal continuation of the striking and complexly seen human spirit captured in Ordinary Lives. Where we once viewed children, embracing the walls in rich gray tones, we are offered  a Winnie the Pooh wall hanging, daydreaming beside an empty closet. Take a look.

Rania Matar’s Photographs Of Teenage Girls In Their Bedrooms

Rania Matar-Photography

Rania Matar-Photography

Rania Matar-Photography

My room as a teenager was a sanctuary-my only safe place. My room was me, more specifically though, it was what I wanted to be at the moment. I wanted to be as bold, tough and flawless as my favorite musicians on the magazine cutouts on my wall. Truth is, I wasn’t any of those things. In fact, I was timid and self-conscious, an anxious girl who found it hard to make it through some days as I struggled with an anxiety disorder.

Every girl battles with herself and the burden of the transitions that come along with the teenage years; whether good or bad, her room is just an imprint of what she is going through.

Photographer Rania Matar’s recent collection of photographs, A Girl in her Room, explores the teenage girl in her habitat (her room), to further understand the origin of a teenager’s way of being. Matar wanted to capture the universality of teenage behavior by photographing girls in the U.S and the Middle East- both cultures she is very familiar with.

I became fascinated with the similar issues girls at that age face, regardless of culture, religion and background, as they learn to deal with all the pressures that arise as they become conscious and aware of the surrounding world wherever this may be.

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