This monumental work was the third in the Al-Ana/Huna series, comprised of pieces in which the viewer is invited in order to meditate. The exterior architecture of this immaculate white Hojra is an octagonal form that reaches up much like the pyramids. Once through the low door that forces the viewer to stoop down, one discovers a group of seventy-seven blown glass flowers suspended from the ceiling, upside-down. The flowers were made during the artist’s residency at the Centre International d’Art Verrier de Mesenthal using the seventy-seven flowers from “Zahra,” which were then adapted to the constraints of the glass. Although each flower is unique, their centers are all made from an identical red ball from which a soft red light pulsates and whose intensity increases and decreases according to different rhythms. It is only after a few minutes of attention that the dozen or so viewers that can fit in the Hojra are able to distinguish the colorful nuances of each flower installed in a cupola around seven concentric circles.
