Through a poignant series of photographs, artist Noor Nabulsi’s Steel Birds pairs colorful scenes of camaraderie with somber monochrome moments in an effort to explore “themes of femininity, sisterhood, and cultural identity” in relation to the Palestinian exile experience. As she explains, “the two parts of this series not only delve into the diasporic connection to resistance, but also serve as a gesture to the Palestinian women in Gaza who are forced to lay bare their trauma—literally placing it on the table for the world to witness.”

What drew you to art and what would you say inspires you? How did you get your start as a photographer?

I have been interested in art ever since I can remember. As a very young child I was more interested in my sketchbook than the television—a formidable ode to being an angsty teen I guess. What inspires my art now is the life around me and what I witness on an emotional and physical level. I am drawn to beautiful colors, bodies, and thoughts. My identity as an Arab woman and an offspring of exiled Palestinians definitely forces me to consider the social, cultural, and gendered impacts of war, loss, and migration in my art.

My first experience with photography was through a film photo class I took in my early high school years. I bought my first film and DSLR cameras that year, I think it was 2014. I spent a lot of free periods doing silly photoshoots with friends and experimenting with the outcomes in the darkroom on campus. When I went to university, I got a job in the darkroom at UMD and taught classes on film photography and developing techniques. Working there, I was able to develop my own photos for free, so it was a win for me.

What is the significance of the title of this piece, Steel Birds?

There are a couple different ways that the title could be interpreted. I wanted to exemplify the strength and permanence of Palestinians, specifically Palestinian women like my friends in the photos. I also think of a steel bird as a plane or aircraft, which made me think of the surveillance that Palestinians experience from the Israeli military. I wanted the title to convey a subtle message: Despite the prevalence of surveillance, bombing, weaponry, and aircraft, they will never succeed in erasing us. We will forever stand strong together, like steel birds!

As you’ve mentioned, these photos reflect “the impact of displacement of Palestinians in Gaza and the West Bank” as well as the “palpable grief experienced by the Palestinian diaspora.” How did you initially conceptualize this series and what made you choose photography as the medium? Would you walk us through your process?

I was inspired by Carrie Mae Weems’ photo series, Kitchen Table Series. I really love the idea of telling a story through one setting that does not change. Weems’ work examining the every-day life of a black woman in this way was so powerful to me and immediately inspired me to think of my culture’s own objects and actions of connection and sisterhood. Ever since October 7th, I have not been able to separate my art from my strong emotions of grief and guilt as I watch from thousands of miles away the genocide of my people. I knew I wanted this concept to digest those feelings. I chose photography because I wanted to express these emotions with other Palestinians who I know share similar feelings with me. Now more than ever, I feel a push to be in community with friends and family, so I am grateful to be able to create and share art with my loved ones during these times.

You describe this work as a juxtaposition between representing the “perpetual vitality” of Palestinian culture and “constant underlying heartbreak.” The contrast between the color and monochromatic images works to convey this aforementioned duality of persistence and lament to the viewer. How do you hope for people to respond to this series?

I don’t anticipate a specific reaction. My genuine intention was to encapsulate the emotions that have consumed me in recent months within the confines of the frames. In my daily life, I have moments of laughter and beauty just like the photos in color, and they can quickly and seamlessly turn into sorrowful moments of grief and heartache. Almost every family gathering recently has been full of these bittersweet moments, where we are grateful to be in each other’s presence, yet we are weighted down by the unexplainable sorrow and grief. Our hearts are with the people of Gaza, irrespective of where we are or what we are doing.

As an artist, what are your plans for the future? Do you work in other media besides photography? Is there anything in particular you’d like to further explore with your art?

I hope to continue creating art that brings people together through shared experiences. More personally, I would like to participate in an artist residency abroad and experiment more with mediums such as textiles, natural dyeing, and embroidery. A dream of mine would be to work for a period of time on a wool farm and learn how to spin wool. I have also recently been learning how to soft solder and have had fun making jewelry and gifts for friends. Photography, I would say, still remains my main interest, so I will continue working on more concepts and creative directing.

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Born as a first-generation American in Baltimore, Maryland, to Palestinian parents, Noor Nabulsi is currently based in Washington, DC, where she actively engages as an activist, organizer, and artist. She keenly focuses on photographs and visual art that situates herself in this world as the child of forcibly exiled Palestinians from Nablus and Jerusalem who migrated to Iraq, Jordan, and lastly, America. Noor critically examines the political and gendered dimensions of life as an Arab woman in the diaspora. Through her work, she complicates the notions of liberation, oppression, culture, and apartheid. Noor holds a BA in Media Studies from the University of Maryland, College Park.