Evar Hussayni is a Kurdish multi-disciplinary artist currently experimenting with different mediums to portray her thoughts, observations, and understandings. Her most recent work explores typography, archive, film and photography, installation, and mixed media. Through a number of nuanced series, Evar explores the repetition of language, image, and color. Her visual practice addresses the multiplicity of Middle Eastern women's experiences, with a specific focus on the circumstances endured by Kurdish women in diaspora. Her work examines the consequences of Orientalism and colonialism and how the White-Western gaze has contributed to the disposability of Middle Eastern women and their identity.
This disposability ranges from practices such as honor killings to the fetishization of women in militia and dismissal within political roles. In a time where the most severe conflicts affect women the most, it is essential to voice this dialogue and bring forward silenced or even non-existent conversations. However, there is another side to Evar’s art which works to dispel stereotypical narratives often forced upon Middle Eastern women. Her work aims to open conversation surrounding the lack of nuance and understanding of complexity in Middle Eastern women's lived experiences. Therefore, Evar also focuses on sub-themes such as memories, food, sexuality, labor, and love, and how these all fit into the myriad narratives and identities of Kurdish women.
In the series Forgotten Women, Evar explores the notion of archiving and reliving memories by imaging ancestral Kurdish relatives. The combination of photographic material taken over the past century and the fabric of the traditional kuffiyeh creates a fluid transition between the known and unknown. These photographs vary not just in era, but also in aspects respective to their time, including fashion, sense of religion, visuals of labor, education, familial norms, cultural values, and social interactions. Evar's mother is the primary protagonist throughout this series; however, the artist also sheds light on the anonymity of many Kurdish women whose faces remain in print yet names have been forgotten.