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DR: Well, it was unexpected that I found myself part of a diaspora; I lived a long time before I knew what the word even meant. But, once you become part of something, you have to find out more about it. I researched quite a lot and found that maybe Jacques Derrida, who was himself part of a diaspora, had the best definition. Derrida compares the experience of diaspora to a pommegranate, the fruit used to make grenadine. Everyone knows that the pommegranate is full of seeds; Derrida suggests that the fruit is the country of origin, and the seeds are scattered far and wide like individual members of the diaspora.
They move away from the fruit and reproduce in unfamiliar surroundings. Diaspora can be a kind of freedom; after the hard initial start it is possible to live anywhere you want, once you have become used to it. There are allusions to diaspora in the work of other artists in the showβ¦this piece by Irena Sladoje, where she grows over an old Sarajevo rose and turns it into something completely different, for example.
I am far from the only artist to have gone through this; diaspora is a very common experience in the biographies of artists now and in the past. Derrida also wrote very well about the relationship between Algeria and France, and of the need as an individual to resolve the experiences in the home country with the contemporary realities of life in another.
DR: I really started with architectural drawings. When I first came to France, I had nothing left of Sarajevo, other than a few postcards of the city from the time of the Olympic games.
In that war from so many people died, there was so much awful human tragedy, but less remembered is the buildings that were destroyed as well.