Four reclaimed metal panels, fragments
dispersed after the 1979 siege of Makkah and later traced to local markets lean
against a blackened wall beneath a looped soundtrack of distant shouting and
archival images. Some panels bear bullet holes, their pitted surfaces recording
a history of rupture. Binoculars are mounted at three heights corresponding to
the principal postures of salat: qiyam (standing), rukuʿ (bowing) and sujood
(prostration). To look is to assume the pose; viewing becomes a ritualized
movement that folds observation into prayerful introspection. The work stages
confession as both a private rite and a public encounter: seeing, listening and
bodily alignment converge in a search for the divine