In her films, Natasha Fawzi draws extensively from her own experiences with different Faiths – all of which had been crucial during her formative years. Over the two films, she weaves through a labyrinth in a bid to seek out her place within larger worldviews.

Often confined to one belief system, Natasha’s childhood earnest curiosity into the others has begun to see fulfilment via this project. Maneuvering through a maze – each time unsure of where the path would take her – may be seen as a willful investigation into the different Faiths that she only had fleeting moments with in the past. Using the maze as a framing devise, Natasha strives to track her own thoughts and belief systems with some distance. Entering into unique spaces or rooms then becomes ways in which she interacts and negotiates with elements emblematic of the religious world.

Natasha began this project by partaking in and observing religious practices at different places of worship. The worshiper’s body performance (before, during and after a prayer) and the atmospheric presentation became her observable material. Translating them in the initial studio sessions, Natasha carefully selected neutral objects to interact with.

In conversation with the artistic team she soon started to re-evaluate the items on display in each of the rooms. Instead of looking at objects and associating them with a single Faith, she began seeking out items that can cut across various beliefs and still remain neutral if one does not wish to acknowledge the religious connotations. The sensory experiences of ablutions and feeling the sunrays through stained glass windows, provided fodder for the final versions of water and light that we see. The film on light allows for a pensive provocation on searching for the light while already having one, while that with the element of water could become an invitation to refract our ideas on embracing worldviews.