In this body of work, Al-Karim presents a series of triptychs, each comprised of three faces. Some are well known figures, such as Saddam Hussein in Hidden Face, others are film stills, artworks, or artifacts. Presented as enlarged panels their distortion is compounded,
raising the question not of what they represent but of their deeper meaning and interconnectivity. Hidden Face was made in 1995, years before the famous photo of Saddam in custody; the figure is in fact made up, based on how Al-Karim imagined the dictator would look in the future. The two flanking out of focus figures are suggestive of world leaders – still in power – whose support of Saddam’s regime has been forgotten. Al-Karim has blurred their identities to show the duplicity of their motives, scripting them as anonymous accomplices who will never stand trial.

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