For nearly four decades, Palestinian artists have been carrying the spirit of resilience embodied by the late 1980s New Visions art movement. This pioneering collective sought to express itself through local natural materials while shunning Israeli supplies as a form of cultural resistance during a time of intense turmoil.
Founded in 1987 by artists Nabil Anani and Sliman Mansour, along with Vera Tamari and Tayseer Barakat, the New Visions art movement was primarily focused on self-sufficiency at a time when Palestine faced immense political upheaval. As Anani noted, "Ideas like boycott and self-reliance inspired a shift in our artistic practice at the time." The idea resonated with many artists, who began using local materials to create artworks that not only showcased their skills but also served as acts of defiance.
As the movement gained momentum, its founding members experimented with unique materials such as sheepskins. Nabil Anani discovered the richness of these natural resources and incorporated them into his art in innovative ways. Meanwhile, Tamari developed ceramic olive trees, transforming real ones that were being burned down by Israeli settlers into a powerful sculptural installation called Tale of a Tree.
Years later, Lara Salous, a 36-year-old Palestinian artist based in Ramallah, has emerged as a strong proponent of the New Visions movement. Her work emphasizes the importance of using local materials to liberate and decolonize Palestine's economy. Through her social enterprise, Woolwoman, Salous collaborates with local women shepherds, wool weavers, and carpenters to create sustainable furniture inspired by ancient Bedouin techniques.
Despite the movement's enduring influence, the reality of life as a Palestinian artist has become increasingly challenging. The ongoing Israeli occupation has resulted in the confiscation of land, demolishment of homes, and restrictions on movement. As a result, artists like Salous face difficulties accessing materials and sourcing local resources due to roadblocks and restrictions.
In Gaza, young artists such as Hussein al-Jerjawi and Hazem Harb continue to draw inspiration from the New Visions movement's legacy. Al-Jerjawi repurposes flour bags distributed by UNRWA as canvases for his artwork, using basic materials to create powerful portraits of life in Gaza. Meanwhile, Harb emphasizes the need to creatively reuse resources to convey messages about the ongoing occupation.
For many Palestinian artists, creating art is not merely an expression but a survival mechanism. As Nabil Anani noted, "Even in cities like Ramallah or Bethlehem, where the situation might be slightly more stable, there are serious difficulties, especially in accessing materials and moving around." Despite these challenges, many continue to create art using whatever resources they can find, serving as testaments to the resilience of Palestinian culture.
As the New Visions movement continues to inspire a new generation of Palestinian artists, it remains clear that this legacy is more than just an artistic expression – it is a testament to the enduring power of resistance and resilience in the face of adversity.
Founded in 1987 by artists Nabil Anani and Sliman Mansour, along with Vera Tamari and Tayseer Barakat, the New Visions art movement was primarily focused on self-sufficiency at a time when Palestine faced immense political upheaval. As Anani noted, "Ideas like boycott and self-reliance inspired a shift in our artistic practice at the time." The idea resonated with many artists, who began using local materials to create artworks that not only showcased their skills but also served as acts of defiance.
As the movement gained momentum, its founding members experimented with unique materials such as sheepskins. Nabil Anani discovered the richness of these natural resources and incorporated them into his art in innovative ways. Meanwhile, Tamari developed ceramic olive trees, transforming real ones that were being burned down by Israeli settlers into a powerful sculptural installation called Tale of a Tree.
Years later, Lara Salous, a 36-year-old Palestinian artist based in Ramallah, has emerged as a strong proponent of the New Visions movement. Her work emphasizes the importance of using local materials to liberate and decolonize Palestine's economy. Through her social enterprise, Woolwoman, Salous collaborates with local women shepherds, wool weavers, and carpenters to create sustainable furniture inspired by ancient Bedouin techniques.
Despite the movement's enduring influence, the reality of life as a Palestinian artist has become increasingly challenging. The ongoing Israeli occupation has resulted in the confiscation of land, demolishment of homes, and restrictions on movement. As a result, artists like Salous face difficulties accessing materials and sourcing local resources due to roadblocks and restrictions.
In Gaza, young artists such as Hussein al-Jerjawi and Hazem Harb continue to draw inspiration from the New Visions movement's legacy. Al-Jerjawi repurposes flour bags distributed by UNRWA as canvases for his artwork, using basic materials to create powerful portraits of life in Gaza. Meanwhile, Harb emphasizes the need to creatively reuse resources to convey messages about the ongoing occupation.
For many Palestinian artists, creating art is not merely an expression but a survival mechanism. As Nabil Anani noted, "Even in cities like Ramallah or Bethlehem, where the situation might be slightly more stable, there are serious difficulties, especially in accessing materials and moving around." Despite these challenges, many continue to create art using whatever resources they can find, serving as testaments to the resilience of Palestinian culture.
As the New Visions movement continues to inspire a new generation of Palestinian artists, it remains clear that this legacy is more than just an artistic expression – it is a testament to the enduring power of resistance and resilience in the face of adversity.
I can only imagine how tough it must be for Palestinian artists right now... The struggles with accessing materials, dealing with roadblocks and restrictions... It's heartbreaking 
to think about the impact this has on their ability to create art. But at the same time, their resilience is truly inspiring 
. I mean, they're not just creating art, they're finding ways to survive and express themselves under incredibly difficult circumstances. That takes a lot of courage and creativity. 
Let's keep supporting artists like Lara Salous and others who are carrying on this legacy of resistance and self-sufficiency 
but at the same time I'm super frustrated about how some Palestinian artists are still struggling with access to resources due to the occupation 
it's crazy that after all these years, they're still facing those same challenges. what's even more inspiring is how they're adapting and finding new ways to create art using whatever materials they can find 
we need more artists with that kind of creativity and resilience in the face of adversity 
despite all the challenges they're facing. I think its really cool how they're using local materials like sheepskins and flour bags as canvases to create their artwork. Lara Salous's social enterprise Woolwoman is also super innovative 
, collaborating with local women to create sustainable furniture inspired by ancient Bedouin techniques.
. But what I love about Palestinian art is that its always been about resistance and resilience, and it seems like the next gen of artists is carrying on that legacy with courage and creativity 
.
I'm really amazed by how much Palestinians have been doing since the 80s to express themselves through art. Like, using natural materials and making their own stuff to cope with what's going on. It's not easy living under occupation, you know? 
i mean we should all be giving props to Nabil Anani for finding creative ways to make wool cool, right? 
and Lara Salous is like the ultimate Woolwoman 
it's crazy how Palestinian artists keep pushing boundaries with art despite all the obstacles 
The story of the New Visions art movement in Palestine is so inspiring 
, especially when you think about how they managed to create something beautiful out of limited resources 
. I mean, using sheepskins and flour bags as canvases? That's some next-level creativity 
! But what really gets me is how this movement is still relevant today 
. And I love how Lara Salous' Woolwoman social enterprise is collaborating with local women to create sustainable furniture 
. It's not just about art, it's about economic empowerment too 
.
. And I'm so glad that artists like Salous and al-Jerjawi are carrying the torch 
️
. It's also amazing to see how they're adapting and innovating with local materials, like Lara Salous's sustainable furniture project 
. Can you imagine creating art in a place where resources are scarce and movement is restricted?