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The Mosaic Rooms are delighted to announce that author, journalist and activist from Gaza, Nayrouz Qarmout will be in residence at The Mosaic Rooms this autumn, in a writing residency supported by English PEN. Qarmout, author of story collection The Sea Cloak (Comma Press) and several screenplays, will be in residence at the gallery during Stateless Heritage our exhibition by artist-architecture collective DAAR (Sandi Hilal and Alessandro Petti) which challenges mainstream narratives of refugees, victimhood and suffering. The exhibition proposes exile as a radical perspective beyond the nation state, and refuses Western definitions of heritage, centering on Dheisheh refugee camp in Palestine. As a writer who is active in the struggle of women’s rights and as a Palestinian refugee who writes about life in her own home city of Gaza, Qarmout will explore some of these themes during her residency. She will participate in events in the exhibition’s ‘living room’ space which aims to reflect refugee camp culture, and be a place for solidarities and social connection.

The residency is supported by the British Council.

Nayrouz Qarmout is a journalist, author and women’s rights campaigner. Born in Yarmouk Refugee Camp, Damascus, in 1984, as a Palestinian refugee, she was ‘returned’ to the Gaza Strip at the age of 11 as part of the 1994 Oslo Peace Accord, where she now lives. She used to work in the Ministry of Women’s Affairs, raising awareness of gender issues and promoting the political and economic role of women in policy, law, and the media. She has won a number of prizes including a PEN Translates Award and the Creative Women’s Award for her debut collection The Sea Cloak. More about Nayrouz Qarmout.

Come and enjoy The dancers’ garden our family friendly art installation by artist Alaa Satir. The dancers’ garden is inspired by Alaa’s fictional tale of two dancers who travel from a place by the river Nile to The Mosaic Rooms garden where they can share their art and dance and make music. Children and their families can enjoy playing in the sandpit, discovering the story of the dancers, building their own sculpture, drawing and playing with the music wall of instruments.

The garden is open 11-5.30 each day.

Inside the gallery, families can explore the exhibition by Fehras Publishing Practices, using Do you see what I see?, an activity booklet designed by Marwan Kaabour.

On Saturday 25 September families can join us for a creative workshop led by a professional artist.

Explore The Mosaic Rooms with this children’s activity sheet about the current exhibition by graphic designer Marwan Kaabour. Gather images, sketches and words to make your own archive. Inspired by the friendship and interests of Fehras Publishing Practices, this art activity invites children and their grown-ups to explore the exhibition and to make artworks of your own. Pick up your copy on your visit to The Mosaic Rooms.

Lockdown Diaries: Over&Out is The Mosaic Rooms’ spring schools project for 2021.

Artists Aya Haidar and Marwan Kaabour worked with three local secondary schools to explore storytelling in contemporary art this year. What had the past year meant to young people? Using different story telling tools, students were invited to reflect and process their lived experience of the Coronavirus pandemic.

The project was inspired by artists who use different forms storytelling. It drew on art works in the Fehras Publishing Practices exhibition and of contemporary artists from the South West Asia and North Africa, art works that help to transport lived experience into narratives that are easier, which may help process challenging circumstances and emotions and offer new possibilities for the future. At the end of the project each student had a record of their stories. These works are on display at The Mosaic Rooms.

Lockdown Diaries: Over&Out followed on from The Mosaic Rooms 2020 schools project Together Apart which worked with students under the first Covid 19 lockdown in the UK. This second project marked a different moment one year later and encouraged the young people to look back on what they wished to remember.

Resources were released each week on The Mosaic Rooms’ Vimeo, and on the Lockdown Diaries: Over & Out project page.

Project partners

Lockdown Diaries: Over&Out project was devised in partnership with three local schools Kensington Aldridge Academy, Cardinal Vaughan Memorial School and Holland Park School, and was shaped collaboratively with teachers from those schools to make sure that the project offered perspectives and activities that are not currently covered in the school curriculum.

The Mosaic Rooms announce their exhibition programme for 2021.

Heba Y Amin: When I see the future, I close my eyes
May 18–June 6, 2021

The Mosaic Rooms reopens the first UK solo exhibition of artist Heba Y. Amin. The exhibition showcases the latest iterations of three bodies of work by the artist: Project Speak2Tweet, The General’s Stork, and Operation Sunken Sea. All stem from real-life subjects, including the new technological formats that were instrumental in Egypt’s revolution, a migratory bird turned international “spy” and, finally, a proposal to “solve” the migration crisis by draining the Mediterranean Sea.

Amin investigates how politics and events in the Middle East relate to global concerns, challenging colonialist narratives of conquest and control, while also exploring the totalitarian exploitation of technology. Her research-based multimedia works take speculative, and sometimes satirical, approaches to these ideas. Alongside performances and interventions, Amin’s research integrates film, photography, and digital technology to think through present-day issues and the potential significance of occluded stories and previously overlooked archive material.

The exhibition is curated by Anthony Downey.

Fehras Publishing Practices: Borrowed Faces: Future Recall
June 25–September 26, 2021?

Borrowed Faces: Future Recall looks at the Cold War and its effect on cultural practices in the Eastern Mediterranean and North Africa region, which generated one of the most fertile periods in the history of Arab culture and publishing. Artists Sami Rustom, Omar Nicolas, and Kenan Darwich have been working together as Fehras Publishing Practices since 2015. Their work playfully explores significant cultural moments in the history of Arab publishing through performance, installation and publications, skilfully blending fiction and reality. The exhibition unpicks the political and cultural policies of the United States and the Soviet Union during the Cold War, investigating the networks and projects funded by the rival superpowers. The exhibition is part of the 2021 Shubbak Festival.

The exhibition is presented in three distinct sections. The photonovel Borrowed Faces 1 follows the journeys of three women (performed by the collective) in 1960s Beirut as they interact with historical figures and institutions of the Cold War. Another section presents the collective’s archives of books, magazines, letters and photographs including research on London based publications and thinkers in the 1960s, when the city became a meeting point for Arab intellectuals. Finally, a new large-scale collage work presents a reimagining of the archive for the Congress for Cultural Freedom, the anti-communist cultural organisation later discovered to have been funded by the CIA. Through it, Fehras explore the role of institutional archiving in defining knowledge hierarchies and classifying facts. The exhibition is delivered in partnership with Delfina Foundation, The Mosaic Rooms, and Shubbak Festival, with support from the Goethe-Institut London. The research of Borrowed Faces is facilitated with the support from Berlin Artistic Research Grant Programme for 2020/21.

DAAR (Decolonizing Architecture Art Research): Stateless Heritage
October 12, 2021–January 30, 2022

DAAR (Decolonizing Architecture Art Research) present Stateless Heritage, a new chapter of their Refugee Heritage project. The exhibition attempts to reframe refugee history and discourse beyond the narrative of “humanitarian crises,” of victimhood, suffering, and humiliation. DAAR propose exile as a radical perspective by which political, spatial and social structures can be experienced beyond the nation state.

The project aspires to destabilize dominant Western conceptions of heritage, introducing a richer understanding, suggesting the potential to abandon the concept altogether. Refugee Heritage focuses on Dheisheh refugee camp in Palestine, however DAAR believe the approach could extend to other camps, and include other forms of subjugated heritage, introducing a new perspective on notions of restitution, repair and return.

DAAR is an architectural collective that combines conceptual speculations and pragmatic spatial interventions, discourse and collective learning. In this new chapter of Refugee Heritage, DAAR will create a live installation, a space of generosity and conviviality activated by talks and events hosted by community members, artists, activists and thinkers. At a time when the fundamental right to claim asylum is under threat internationally and in the UK it will respond directly to issues in the exhibition, and to migrant and refugee justice in the UK.

Image: Abbas Zahedi. Photograph Balint Alovits & thats_so_CSM

In a collaboration with The Mosaic Rooms, Abbas Zahedi created To The Sour Sowers —a risograph print conceived as an impermanent marker of loss and renewal. Zahedi’s interdisciplinary practice blends contemporary philosophy, poetics, and social dynamics with performance, sound, sculpture, and moving image. The prints were offered for free on request for people to participate in the project, and sent with suggestions from the artist on what to do with their print. All of the prints have now been distributed. The Mosaic Rooms spoke to Zahedi about the work:

Tell us about To The Sour Sowers what was the driving force and inspiration behind the work?

I’m always considering a site of a work, so I often say my work starts with an invitation to a site or a location. And then I have this other concern where I see my work as working with people, so even when I’m making installations it’s more about this idea of hosting, and this ties into a lot of my own experiences about hosting and what it means to be a host and what it’s like to be hosted by another space, or even a country for example. In the past as a community organiser, I used to talk a lot about this imaginal idea of a ‘neo-diaspora’. Now, my work has expanded into a participatory style of practice, that includes exhibition making and this brings the question of hosting within a contemporary art context.

When I was invited by Angelina [the project’s curator] to consider this proposal for a work of art, I was thinking about the idea of having something domestic – as in, how can you host someone in their own home?

Then we had the idea of creating a ritual and an image, with an invitation to collaborate. All of this became a way of extending this hosting ritual from a distance and also being hosted by them as well in the part of the work where we are inviting them to collaborate. So it becomes mutual. There are many things to think about around the power dynamics of ‘being a host’ so to speak, the likes of Derrida spoke a lot about this.

My ongoing interest is also in images and photography which has been part of my practice and my studies for a long time. Somehow in this time of pandemic, images have served more and more as our portals into a world in which we’ve all suffered in one way or another. Some of us have experienced very devastating losses in this time. The idea of sending someone an art object that they would maintain in a very pristine way – I felt that couldn’t do justice to the moment and to the feeling of renewal we’re seeking.

So this work actually invites people to damage the piece and cut through it, split it right down the middle. You know, there is a tradition in art history where the gratuitous destruction of artworks has macho connotations, people like the Chapman brothers, they would often disfigure very famous works of art and that was seen as something almost heroic, it was celebrated and those disfigured works would fetch some really high prices. For me it was important that this process of asking people to cut into the work doesn’t become a gratuitous gesture but something more sensitive and graceful, with a sense of optimism – re-framing the damage. Therefore, using seeded paper was a way of having a kind of ritual embedded within the object itself. This kind of disfiguring serves as a way of splitting the work along the lines of its potential as a carrier of seeds; some of these seeds are realised in the ones that get planted, and the unrealised potential is kept in the ones that get kept behind and made into the collage.

What is the significance of the photograph used in the work of a train pulling up to Ladbroke Grove station?

The image has multiple meanings for me. I’ve had it for quite some time. I can’t remember exactly when it was taken but it was definitely in the early 2000’s maybe 2003 or 2004. I lost my father when I was very young and every so often I’d go through some of his stuff that’s in storage and see what’s there. I found his old camera, a manual analogue camera, the kind of thing you’d get if you did a photography course to learn about dark rooms and 35mm film. There was a roll in there that I tried to get developed but it wasn’t salvageable.

I went to the local pound shop one day and they had some rolls of film which I bought and started taking pictures with. The first images I took were all white, completely overexposed – I had no idea what I was doing at the time in terms of shutter, aperture etc. I started Youtube-ing and reading books on photography, I kind of got a bit of a handle.

Within that time one of the images was Ladbroke Grove station, the train pulling in. It was a clear day and the settings that I took the picture with somehow exposed the train, platform and the tracks perfectly but the entire sky was blown out. So, I had this image where the train is one way but where you have the lemon print now, that was all white. It was almost like I’d cut the sky out on Photoshop. I then started playing with this image some years later in the form of a collage, replacing the sky with different skies and objects.

There’s also something around dealing with an impulse that I was having about stepping out of the platform, I was dealing with a lot of mental health issues at the time, following the loss of family members, so I’d go up to the edge of the platform and I’d have these feelings to fall off. Somehow working with the image and changing the sky helped to sublimate some of these emotions and made me ask the question that if I were to step out, what would I be stepping into? The sky image would then be a kind of placeholder for this.

This version with the image of the lemons was from when I was working at Square Root Soda, the drinks company, who are my long term collaborators. In 2014 I worked with them during the startup phase of the company, where we did absolutely everything by hand. So I would often be producing up to 80 litres of lemon juice on a manual citrus press, and whilst I was surrounded by these mountains of lemons I’d take my phone out and take pictures of them.

Printed editions of To The Sower Sowers

In some way those lemons reminded me of places I’d traveled to, like in the Mediterranean and even in Iran in the South, places like Shiraz you walk into the streets and there’s Narenj trees everywhere. Somehow that became a similar gesture, the sky had a similar mental association with that. At the time I was working in drinks production I was still coming to terms with being forced to leave medicine, so I was completely over qualified for a job as a manual labourer, but I found something deeply therapeutic in being close to the earth and produce in that way, which is why I wanted people to feel encouraged with this work to connect with the soil.

The other symbolic thing which occurred more recently was in connection with 2017 and exhibiting at the Venice Biennale as part of the Diaspora Pavilion show. I came to be good friends with Khadija Saye. I’m from Ladbroke Grove, and I live a few streets away from Grenfell tower, so I knew of Khadija before but we got to know each other properly throughout this shared experience. After I came back from Venice and after the fire, I noticed that the tower to the left of the train image is actually Grenfell, before the cladding, so it’s an old picture of the tower. Now that the train platforms have been extended because of the new trains, you can’t see that view any more. So now when I look at the print, all of these things come to mind.

The last year has limited the ways in which we can interact with our own communities physically, how important do you think small acts of contribution to our local communities, like planting seeds, are to our personal and collective lives?

Already people have messaged me about the work and someone said I’m going to plant the cut-out outside of my house, so for them something public is close to where they live, just outside their home. Someone else told me they were going to a cemetery, and wanted to plant it close to someone that they lost, so for them the cemetery and people that go to the cemetery becomes a form of community.

I often talk about the idea of resisting metaphysics in my work, or resisting the idea of a community that functions in an idealistic or representational way, so as to foreground inter-sectional associations that cut across our lived daily experiences. One of things I keep coming back to is the idea of the ground, the earth, the floor. This is something we all come from and return to, it’s becoming much more a part of the wider discourse in talking about the environment, the oceans, the consumption of animals and different lifestyles associated with these factors.

People talk about how major wars were started in the past around oil and it looks like in the future similar wars will be centered around water, and these vital elements are becoming much more of a concern of ours and for me, establishing a relationship with the earth in one way or another is a way of trying to reach out to create that community. Because wilderness is a key aspect of diversity and there is increasingly this notion of ‘re-wilding’ our selves and in particular the art sector, so as to create a stronger ecology of practices that don’t rely on the old institutional model. And this isn’t a work that is going to create a grand solution, but it allows these conversations to happen in a more intimate way, resisting that need for spectacle. These small intimacies are what I’m interested in, so it’s using the opportunity of something created online to make something that exists in the wild.

Can you talk about the idea of care in your work? (thinking of your recent work creating a space for front line workers in the pandemic)

We’ve been put in a very difficult situation and a lot of people are trying to think about how we look after ourselves in these confined set of circumstances. I feel like I share that experience so I’m asking the same question; in seeking new rituals, with collaborative aspects that can renew our sense of connection and bring a sense of being able to make something. The idea of gardening became a big thing over the last year, and there’s research about how gardening helps mental health and having your hands in the soil in terms of your microbiome and gut-health, so there’s that element, yet I’m aware of the disparity where a lot of people don’t have access to gardens due to social and economic reasons.

So when I ask people to plant the seeds I ask them to do it in a public space, and that’s an important thing. We don’t think about that as much because it’s sort of converged a lot during the pandemic. A lot of these spaces that we consider to be public online are actually corporate entities, to which we’ve outsourced our democracies so to speak. Yet they are not public in the traditional sense of a space that purely exists for the benefit of the public good, or the interest of the people who go there. That almost seems like a naïve idea now, to have a space just for the public, that’s why the need for genuinely open art spaces is more pressing than ever.

I feel like I’m trying to re-imagine the idea of having public galleries and public institutions and spaces which are open and inclusive and allow for people to be involved in lots of different ways. I’m taking that into consideration, and trying to think okay, how do I address some of those questions with this work that is going into a person’s house, a private and domestic space? I’m introducing something of myself and asking them to collaborate by removing something and adding something. The thing that they’ve removed contains seeds, if they plant it somewhere public, then other people may see it as they are in the process of planting a piece of paper – that in itself could start a conversation or connection. It’s this very small gesture that opens up the question, what is an art work? Is it the material object, or that sense of connection through the world?

Maybe these small gestures can help people to feel a sense of agency again and to start questioning their own ability to reshape their environment. The experience that I’m seeing is that certain savvy middle class folk have found ways to exist much more comfortably than others who rely on social interactions in a more physical sense, so we’re seeing a surge in delivery drivers and people providing ‘physical’ services vs those who can exist more safely and outsource their demands for goods and services.

At the same time there are these new social binaries of the ‘useful’ and the ‘useless’ – people like artists are being told they’re useless and doctors are being called useful. But that cuts both ways because all those people who are being called useful, they’re being overworked and traumatised with no recourse to any other space. With the Sonic Support Group project, I was able to re-open my closed exhibition space to doctors and frontline workers, and they were coming into an art space and saying we need this space for our own sense of well-being, it does away with that whole binary situation.

Every situation is showing us that we are much more interrelated and interdependent than we once presumed. We need to find how to honor this and not create new class dynamics on top of old ones or new binaries that make more and more people feel dismissed – that’s something I’m afraid of. With this work I’m happy that the gesture is a broad invite, people can request it and have some agency over how they address the work, how and when the respond to it – it’s an invitation that goes both ways. As an artist I’m not in control any more, once I hand it over to the gallery it’s handed out to the people who receive the work and then it has a life of its own. For me that’s the most satisfying process because it’s the closest to our lived experiences, something that’s hard to replicate in a typical museum space.

How do you feel your work and your outlook have been impacted by the events of the last year?

It’s interesting as last year was when I really started getting into exhibition making and did two solo shows. The urge to collaborate is very instinctive for me, having that as the core to my work has really helped me to transition into other ways of working, with the Sonic Support Group and now this letter commission, all of these different ways of working I see them as equal, they are the thread that keeps everything together. The idea of never taking my medium for granted is probably the only rule I have, if I’m working with a certain medium, whether it’s a print or a sculpture, or a performance, or an invitation, or if it’s a space. It allows me to be very open and approach things without a hierarchy. I think in this time of the pandemic we’ve all been limited in the spaces and the people we can access and it forces us to recognize what we may have taken for granted in the past. This approach in my practice, has now extended into new ways of working. As artists I think there’s a tendency to want mental escapism, whether that’s zoning-out by being immersed in your work or viewing art or having experiences that serve as inspiration. That’s all well and good, but when the world goes into lock-down you realise that those things are much more precarious, and it brings the question of what else is left?

My logic as an artist before the pandemic was one in which I took one piece of ground for granted and saw another piece such as a museum floor as more special, but now I’m forced to consider how any piece of space can function in multiple ways. It’s going to be really interesting to see how people respond to this new way of thinking. I’m yet to see the results but this commission is coming out of this kind of framing for me, and that’s why it feels like such a vital and important work, which we are seeing now through the response and how quickly all the prints went. I’m very grateful for everyone involved and the team at The Mosaic Rooms for facilitating this multi-dimensional work.

If you received a print we would love to hear about where you planted it or how you adapted it and why. You can share online tagging it #tothesoursowers or email us at info@mosaicrooms.org.

Join artist Dia Batal and learn about the beautiful work of artist Heba Y Amin, then make a collage of your imaginary landscape seen from above. This video is just over 3 minutes long and includes subtitles.

What you need
You can use anything from home to make your bird’s eye view collage. Here are some ideas but you can use whatever you can find. Dia shows you ideas of materials you can use in the video.
A piece of A4 paper
Coloured paper or card
Textures (bubble wrap, egg cartons, corrugated card)
Transparent materials (cling film, acetate, plastic)
Natural materials (leaves, flowers, spices)
Shiny materials (foil, shiny card)
Tall objects (straws, small twigs)
Sticky stuff (tape, glue, play clay)

What you will be doing

Taking inspiration from Heba Y Amin’s short film As Bird’s Flying. you will close your eyes and pretend that you are a bird flying over the world, imagining what you see below. Then you will make your imaginary landscape using your materials, with help from Dia.

More information

You can find more family activities that are inspired by Heba’s work here: https://mosaicrooms.org/look-imagine-create-2/

Video by Ashley Alcaide.

If you were to fly above the earth like a bird, what would you like to see below you? 

Visit the exhibition to collect your free art pack, with art materials and an activity sheet for you to use to create your own artwork. The Look, Imagine, Create family art activity was designed by artist Dia Batal. It is inspired by the stories, materials, shapes and ideas behind our current exhibition Heba Y. Amin’s When I See the Future, I Close My Eyes.

We’d love to see your artworks. Send your comments or pictures of your creations by email: info@mosaicrooms.org or on Instagram: #mosaicreates

If you can’t get to the exhibition you can download the activity sheet here.

Created with support by the Royal Borough of Kensington and Chelsea Arts Grant Scheme.

Image: The Look, Imagine, Create family activity pack by The Mosaic Rooms designed by artist Dia Batal.

Visiting The Mosaic Rooms and want some ideas for places to visit nearby?

Here are our cultural recommendations for our neighbourhood:

Art and Design on High Street Kensington

London’s Design Museum is ten minutes walk, with a changing programme of exhibitions housed in the iconic building of the former Commonwealth Institute.

Holland Park, is also nearby. Enter from High Street Kensington and walk up the park to visit the walled garden, the spectacular Kyoto garden and stop at the park cafe.

From here you can visit nearby Leighton House Museum, the former residence of the Victorian painter Frederic, Lord Leighton, with a sumptuous colonialist interior, including the tiled Arab Hall. Check the website for current opening hours.

At the other end of High Street Kensington is Japan House London, the cultural space celebrating contemporary Japanese culture with free exhibitions of art and design.

Pop History and a Victorian Cemetery on Brompton Road

South of the gallery is Earl’s Court, which leads to Brompton Road. Brompton Cemetery is a beautiful green space to relax, and to discover some London history. Those memorialised include suffragette leader Emmeline Pankhurst and epidemiologist John Snow.

Also on Brompton Road is the Troubadour, one of London’s historic music venues, a bar whose past performers include Bob Dylan, Led Zeppelin and Jimi Hendrix. Now open for drinks and food.

Museums and culture centres in South Kensington

Further east along Cromwell Road enjoy films at Ciné Lumière the Institut Francais, the centre for French culture in London. Then you’ll reach the Kensington museums including the V&A, Natural History and Science museums. Newly opened nearby is Cromwell Place where international commercial galleries have gathered in this newly renovated space.

Let us know if you have any local culture recommendations you would like to share.

Images (from top)

The Mosaic Rooms entrance. Photograph by Andy Stagg.

Kyoto Gardens, Holland Park, Royal London Borough of Kensington and Chelsea, W12 by Ewan-M is licensed with CC BY-SA 2.0.

The Arab Hall. Copyright Leighton House Museum, RBKC. Courtesy Will Pryce.

From April – July 2020 The Mosaic Rooms worked with two local secondary schools to plan and deliver a four-week art project online. Students from The Cardinal Vaughan Memorial School and Kensington Aldridge Academy worked with artists Aya Haidar, Marwan Kaabour and Rosie Thwaites on the project Together Apart: Lockdown Diaries. The artists invited the students to respond to conditions of lockdown, using them as positive creative constraints.

Each week the students were set a challenge. On week one the students were asked to take social distance, the government recommended rule of keeping two metres distance from people outside your household, as a departure point for their art work. Following challenges used the parameters of daily exercise, pandemic hygiene and remote relationships as provocations for play and creativity.

The project offered students the opportunity to be inspired by other artists who have produced work in response to constraints to inspire their thinking including Michael Rakowitz, Francis Alÿs and Lamia Joreige. Each week the artists recorded a Zoom workshop and once students had responded with their creations, the artists also gave feedback via the same method.

Our thanks to the schools and teachers for their participation in Together Apart: Lockdown Diaries. Special thanks to the students for exciting and inspiring us with their creative responses.

The resources for the full project are freely available to schools.

For more information about the project contact info@mosaicrooms.org

Resources

Here is video of the first challenge for the project. The artists explain the first challenge and invite the students to respond.

Each video is accompanied by a PDF which explains the challenge. Here is the PDF from challenge one – social distance.

Here you can see work shared by students over the month long project.

Graphic design for the project is by Marwan Kaabour.

This summer, we invite you and your family to enter into the beautiful worlds of author Nadine Kadaan and others as we present book readings, family friendly activities and music sessions. These activities are inspired by the wonderful family sessions we have hosted in our galleries, and the ways we continue to connect and communicate in these unprecedented times.

Activities will be released every two weeks on a Saturday and can be found on this page as well as on our social media platforms.

Each session will be open to all and we will let you know what materials you might need. We will always try to make sure that any materials are simple and available in most households, where possible.

You can access the videos after they are first released, to make sure you can take part when it is right for you.

We would love to see and share what you create. Please use the hashtag #mosaicreates

The first activity is Storytime and Collage with Nadine Kadaan.

The second activity is Storytime and Sketch with Nadine Kadaan.

Image: Detail from illustration by Nadine Kadaan.