Separation II

Description

Artist Notes

I created these abstractions to signify my emotional disconnection to the terrain of my current state of grief, longing for my Family, to hug and touch my Mother, the loss of my Father, the warmth of our Family's gathering, inter connection of our shared love for one another. These rigid images are intentionally rigid to express how life in separation has made them harder, rougher, more rigid, they are intentionally never to touch, to signify the gravity and inertia of the distances between them, clearly belonging together yet never able to touch, and kept apart, seperated by the cruelty of a punitive authoritarian regime, that keeps us imprisoned by their hatred, and distorted fears, further distorting our shapes, shaping us into something rigid to the outside world. They have become symbols of fractured dissonance, the separation is deliberately painted, the simplicity intentional in the primary colors specificity, my reflection upon the irrationality of it all. Days I am without words to express or convey the heaviness of my longing for semblance cohesion for the simple act of gathering with family and loved ones to simply be normalized again. For me, and others like me, that is not the reality, like others who know this wound of separation; observing the rigidity that resisting this kind of separation creates in the body, acknowledging without numbing the impacts of this seperation has taken upon my life, and other like me. These pieces are the fragments of respect for the markings that injury has left upon my heart. I leave it on the canvas, and remove it from occupying my heart.

Preservation Notes

This painting is part two of a co-joined painting dedicated to his separation from his family before the October 2023 genocide began. Painted on linen mount composite canvas in 2025 with acrylics, sealed with polymer sealant, kept in climate control environment/gallery. Both Pieces have been preserved with professional Archival framing standards fully administered. Museum glass with UV-filtering acrylic that blocks up to 99% of harmful ultraviolet rays to stop fading. Must be pulled for maintenance every 5 years, coating treatments reapplied. Next maintenance date January 2031. Excellent condition. PAIRED WORK - DO NOT SEPARATE Part two of a conjoined two-panel work. Its matching panel is Separation I. The two panels are catalogued, conserved, exhibited, and sold as a single unit, including the paired print release. Neither panel is to be sold, loaned, or rehoused independently of the other. PAIRING KEY (machine-readable) Shared tag: separation-diptych-alijila This exact tag is carried by both panels and by no other record in the archive. It is the join key the public site uses to retrieve the pair. Do not reuse this tag on any other work, and do not remove it when editing keywords. Panel 1 of 2: Separation I, handle separation-i, document ID 043ec05a-9e9c-40b5-be9e-9ff370ec7722 Panel 2 of 2: Separation II, handle separation-ii, document ID bfe7d75e-2656-475d-97ae-93b9540e6118 Sequence: this record is panel 2 and hangs to the RIGHT. Separation I hangs to the LEFT. The order is fixed and must not be reversed. Retrieval query for the public site: *[_type == "art" && "separation-diptych-alijila" in tags] | order(title asc) DISPLAY AND RETAIL INSTRUCTION The panels must always be presented together, in sequence, on any page where either appears: catalogue, archive listing, search result, related works, cart, and checkout. Neither panel should ever be purchasable on its own. If a visitor adds one to a cart, both must be added. CRITICAL CURATORIAL CONSTRAINT: The artist's notes state that the forms are "intentionally never to touch" and that the separation between them is deliberately painted. The two panels must therefore be shown side by side with a visible gap between them. They must NEVER be merged, butted together, cropped into a single composite image, or displayed in a carousel that shows only one panel at a time. Presenting them as one continuous image would invert the meaning of the work. The gap is part of the piece. SCHEMA LIMITATION The art schema has no field that can hold a reference from one artwork to another. The links field accepts external URLs only, not internal document references. The shared tag above is therefore a workaround, not a proper relationship, and it depends on nobody editing the tag by hand. This pairing was previously set up and was subsequently lost when the tags were reverted, which demonstrates the fragility of the approach. Recommended fix for the development team: add a reference or array-of-references field to the art schema, for example relatedWorks or pairedWith, pointing to type art, together with an optional string field for the relationship kind (diptych, triptych, series) and a number field for panel order. Once that exists, this pairing should be migrated off the tag and onto real references, and this note updated. DIGITAL RECORD The original capture was scanned in Sweden as a TIFF master in high, medium, and low resolution variants. The medium and low resolution variants are held outside this archive. CURRENT ASSET: TIFF master, 4679 x 5952 pixels, 79.7 MB. Filename Seperation-Alijila-FullRes.tif. Uploaded 2026-09-10. Note that the filename contains a misspelling of Separation; this originates with the source file and is recorded here as it stands so the asset remains identifiable. This record now holds the full-resolution TIFF master, uploaded without conversion. It replaces the previous medium-resolution derivative (JPEG, 3144 x 4000 pixels, 3.3 MB), and carries approximately 2.2 times the pixel information. Effective scan resolution: approximately 630 to 660 DPI measured against the recorded physical dimensions, roughly double the 300 DPI archival standard. Maximum reproduction size at 300 DPI: 15.6 x 19.8 inches (39.6 x 50.4 cm), which is more than double the physical panel on each axis. At 200 DPI it will carry 23.4 x 29.8 inches. Status: MEETS AND EXCEEDS ARCHIVAL STANDARD. This record now holds a true preservation master in a lossless format.

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