Pamela Chrabieh is a Lebanese-Canadian visual artist, researcher, activist, writer, program manager, and president of Dar al-Kalima NGO for Arts and Culture in Lebanon. She holds a Higher Diploma in Fine Arts and Restoration of Icons, a MA in Theology, Religions, and Cultures, and a Ph.D. in Theology-Sciences of Religions. As a visual artist, she exhibited her work in Canada, Lebanon, the United Arab Emirates, Italy, Spain, Hong Kong, China, the UK, the USA, and the metaverse. She was selected as one of the 100 most influential women in Lebanon in 2013 and won several prizes in Canada and Southwestern Asia. Recent exhibitions: "Brain Cake," International Art Exhibition, M.A.D.S. Art Gallery, La Pedrera, Barcelona-Spain & spatial.io; "Feel" Contemporary Virtual Exhibition, Art Maison Gallery & StudioArte22, Italy; "Women Talk, We Listen," International Virtual Art Exhibition, Kato Wong Gallery, London-UK; Chicago Fine Art Salon - Online Gallery, Chicago-United States; "Adrenocromo for Dinner," International Art Exhibition, M.A.D.S. Art Gallery, Milan-Italy & Fuerteventura-Spain; "Rise" Multiform Art Hybrid Exhibition at the Zico House, Beirut-Lebanon, and on spatial.io; Liquid Arsenal, Mixed Reality International Art Exhibition, M.A.D.S. Art Gallery, Milan-Italy & Fuerteventura-Spain; Images of Women, Virtual Group Exhibition, Independent & Image Art Space, Chongqing – China; The Healing Power of Color, Collective Exhibition, Manhattan Arts International and The Healing Power of ART & ARTISTS (HPAA), New York; Anima Mundi Festival 2019 – VISIONS, ITSLIQUID International Art Festival, Venice Biennale, Palazzo Ca’ Zanardi, Venice; and Engaging Gazes, Generating Poetry, Rotunda Gallery, AUD – United Arab Emirates.
My Jawwala ("Nomad") collection is a series of archetypes that represent subjectivity reconstructions as contingent and provisional while interconnecting with past experiences and belongings, in which people create/recreate their sense of identity through kaleidoscopic encounters and ever-changing situations and apparatuses. The renewal of the self is depicted as disturbed by fixity and longing for it through stylized gazes channeling the visible to the invisible. These artworks are part of my integrated (phygital) iconography collections - expressing pieces of wounded memories of war by sublimating reality. Each icon depicts scattered elements of women torn by the vicious cycle of physical/psychological war and gives shape to the absence, the missing, the unspoken, the disintegrated,... to the afterlives of war survivors in their grief, nostalgia, exile, and remorse co-mingling with a slight hope (if any) for a future in which they reclaim the past from ossification, fixed boundaries, and hyperamnesia/hypoamnesia while transforming the immutable darkness to transitory realms.
Integrated (phygital) iconography is a style that I have been developing in the last few years. It combines traditional techniques of Levantine iconography with concept art and is an intricate process of digital transformation of physical icons’ writing.