Abdul Hay Mosallam Zarara: A Voice of Palestine Through Sculpture

Abdul Hay Mosallam Zarara (1933 – 2020) stands as a singular figure in Palestinian art, recognized for his distinctive approach to archiving the recent histories of his people—a method characterized by meticulous recreations of daily life from memories of his lost village and imbued with a profound connection to Palestinian culture. Born in Al-Dawha, Palestine (near Hebron), Zarara’s artistic journey began without formal training, yet blossomed into a prolific career marked by exhibitions across the Middle East and Europe. His legacy resides not merely in quantity but in quality—in artworks that resonate with authenticity and convey a critical perspective on Palestinian experience.

Early Life and Artistic Beginnings

Zarara's formative years were shaped by displacement following the Nakba of 1948, an event that forced him to flee Al-Dawayima at just fifteen. This experience instilled in him a deep understanding of resilience and exile—themes that would permeate his artistic output. Initially drawn to clay sculpting, Zarara’s breakthrough came unexpectedly when he encountered a magazine cover depicting the defiant face of an elderly Palestinian woman alongside the words “We will not forgive.” Inspired by this image and recalling his childhood observation of a carpenter skillfully filling holes in wood with sawdust and glue, Zarara embarked on a transformative experiment. Combining these elements—sawdust, glue, and acrylic paint—he created sculptural reliefs that captured scenes from daily life—farmers tending their fields, women gathering in the market—transforming simple materials into powerful symbols of Palestinian heritage and resistance.

Technique and Artistic Style

Zarara’s technique distinguishes him as a pioneer within Palestinian art. He eschewed academic training, prioritizing instinct and observation—a decision that resulted in artworks imbued with remarkable sincerity. His method involved layering sawdust and glue onto wooden slabs, meticulously shaping the resulting surface to recreate evocative depictions of Palestinian life. This process yielded distinctive reliefs characterized by vibrant colors and emotive subject matter, reflecting Zarara’s unwavering commitment to portraying the realities faced by his people. As critic Muhammad Abu Zurayq eloquently described it, “From the depths of the Palestinian village, Abdul Hay Mosallam Zarara emerged laden with songs, mawwals, mijana, and ataba, which would be an important element in his artistic works.”

Major Works and Themes

Zarara’s oeuvre is notable for its exploration of pivotal moments in Palestinian history—the Nakba, the siege of Beirut during the Lebanese Civil War, and the ongoing struggle for liberation. His paintings frequently depict scenes from daily life—farmers tending their fields, women gathering in the market—celebrating Palestinian culture and heritage amidst adversity. Particularly poignant are his depictions of wedding celebrations, where he captures the vibrant costumes and folklore songs of Palestinian women—a testament to Zarara’s ability to distill complex emotions into simple visual representations. Furthermore, Zarara confronted Israeli violence and occupation head-on through symbolic imagery and metaphorical narratives, cementing his role as a voice for Palestinian resilience. Notable works include “The Young Women’s Dance” (1986), which exemplifies Zarara's masterful blending of traditional motifs with modern techniques—a reflection of his profound connection to his homeland.

Legacy and Recognition

Abdul Hay Mosallam Zarara’s contribution to Palestinian art extends beyond his artistic creations; he established The Naji Al Ali Fine Arts Gallery in Damascus alongside Mustafa El Hallaj, providing a crucial platform for showcasing Palestinian artists' work and amplifying their voices. His unwavering dedication to preserving Palestinian heritage and confronting injustice earned him the Mahmoud Darwish Award in 2014—a testament to Zarara’s enduring influence on Palestinian culture and artistic expression. He continued his artistic endeavors until his passing in 2020, leaving behind a legacy of resilience and resistance embodied in his distinctive sculptural paintings that serve as windows into the past and beacons of hope for the future.