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BY FATIMA ALAIWAT
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat's practice is rooted in everydayness, at the intersection between practicality and poetics. Fatima explores everyday ephemeral and cyclical rhythms to inform and frame artistic exploration and inquiry. Through social practice, intimately imagining and catalysing regenerative systems that support collective resistance, healing, care, belonging and alternative ways of living.
BY FATIMA ALAIWAT
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat's practice is rooted in everydayness, at the intersection between practicality and poetics. Fatima explores everyday ephemeral and cyclical rhythms to inform and frame artistic exploration and inquiry. Through social practice, intimately imagining and catalysing regenerative systems that support collective resistance, healing, care, belonging and alternative ways of living.
BY FATIMA ALAIWAT
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat's practice is rooted in everydayness, at the intersection between practicality and poetics. Fatima explores everyday ephemeral and cyclical rhythms to inform and frame artistic exploration and inquiry. Through social practice, intimately imagining and catalysing regenerative systems that support collective resistance, healing, care, belonging and alternative ways of living.
BY FATIMA ALAIWAT
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat’s sensuously interconnected map works as a kind of recipe or, as she calls it, a ‘smell score’, reflecting her practice of composting orange peels using a fermentation process known as bokashi. By concentrating on her sensory awareness, Alaiwat developed an intimate knowledge of and responsiveness to the technique and the physical matter before her. This sensory intimacy created a space in which complex emotional states intertwined with the practical acts of slowly and responsively improving the quality of soil. The process was underpinned by interdisciplinary writer and researcher Maria Puig de la Bellacasa’s point that ‘what soil is thought to be affects the ways in which it is cared for, and vice versa, modes of care have effects in what soils become’.
My practice engages with regenerative processes as dynamic forms—living containers holding various temporarily diverse rhythms and keys to re/orientation. Through approaches such as foraging, herbalism, gardening, composting, fermentation, cultivation, cooking, and eating, I nourish practical cycles over time, where varied creative outputs can continuously emerge and evolve, while also bringing to light various threads of geopolitical, environmental, cultural and systemic entanglements. In this way, I am drawn to the work of activating frameworks and exploring embodied knowledge, which has previously led to workshops, installations and food events. I question how art practice might serve a re-embedding of poetics within the everyday, and how this can support alternative ways of living that guide us towards deep listening, intimate connections and healing with the more-than-human world.
Fatima Alaiwat's practice is rooted in everydayness, at the intersection between practicality and poetics. Fatima explores everyday ephemeral and cyclical rhythms to inform and frame artistic exploration and inquiry. Through social practice, intimately imagining and catalysing regenerative systems that support collective resistance, healing, care, belonging and alternative ways of living.