A video exploring identity through the lens of a grandmother’s house, a space rich with history and cultural memory. Set in one of the family’s oldest homes, the video contrasts serene exteriors with chaotic interiors to highlight societal pressures that shape self-perception. Filmed symbolically as if through surveillance, the non-linear narrative unfolds within the house’s segmented spaces—from public facades to private interiors—serving as a metaphor for the evolving boundaries between tradition and modernity.
Traditional spaces like the majlis symbolize hospitality and culture, projecting an idealized social image while concealing deeper personal complexities. Family members interact with the house differently, revealing the tension between appearance and reality and the shifting dynamics of identity and community.
The surveillance-style filming adds another layer of meaning, creating the sensation of being watched. A symbolic, non-functional surveillance camera is above an LED screen. One of the screens is black, completing this sense by reflecting the viewers’ interactions with the work. This interplay mirrors negotiations between public and private selves, prompting reflection on how societal expectations shape self-perception.
Ultimately, Thursday Nights examines how architecture reflects cultural shifts, asks how we reconcile inner realities with societal expectations, and invites viewers to reflect on their experiences within this tension.