Video .. Palestinian Khadija Bisharat caressing brush and colors between the rubble

Atef Douglas - The Jordan Valley

Taking advantage of her spare time just before noon, the artist Khadija Bisharat quickly rushed out her hidden art paintings between piles of bedding and home furniture, and published it in front of her room, taking the walls and water tanks for her.

Khadija briefed us on her artistic works, which hid her away for months, for fear of being lost in the rubble due to the Israeli occupation's threats to destroy her house and displace her from her house.

Creativity amid suffering
The factors of seduction were available from a generous space and a picturesque nature, and she was absent as a formative artist of reassurance and stability over a hill in the Homs Al Tahta region in the Jordan Valley, north of the West Bank, where Khadija (32 years) continues her artistic creativity and falls on the reality of suffering, hope and joy.

It sometimes depicts Bedouin life, and at other times it deals with women and their living conditions there, and in the third - which is more - it depicts the Israeli demolitions and pursuit of them, because the occupation does not want them in the place.

We crossed the "Hamra" military checkpoint to reach Khadija 'house, and we cautiously climbed his mountain road for fear that Israeli soldiers would discover us and thus detain us, prevent us, or confiscate our press tools, and prevent us from covering. Journalists especially these days are not welcome.

A drawing inspired by reality
When we arrived, the artist was dropping her colored feathers over her last work, a painting that shows the recent "demolition" operation in the nearby "Hadidiya" area, and with all caution she tries to drop what her eyes saw on the plate to embody the event as it is, and convey the message of the people in a way Another to the world.

Khadija uses water colors to paint her paintings, she is less expensive and dries quickly, as she volunteers her however she wants, and she usually chooses a little before noon to draw because it is more suitable for her, as she has finished her work at home and in the sheep pen and takes advantage of her children going to school.

Khadija does not paint abstract or surreal art. Rather, her works are inspired by the reality in which she lives, and her creativity falls upon her in a way that gives her a different beauty and brings her close to the viewer's eye and his feeling.

Ghori women, with their colorful reality between joy and sadness, had a side in Khadija’s work, and she wanted this to shed light on the suffering of women in the Jordan Valley, especially since a good part of them are educated and without jobs.

Khadija tells Al Jazeera Net, she carefully turns her feathers between her fingers, how she drew inspiration from her painful reality and the harsh nomadic life of her graduation project through several paintings that reflected that, and she says, "I completed my university studies in plastic art after two years of marriage in 2014 and challenged all obstacles of occupation."

A single exhibition in Jerusalem
All of this constituted a fertile environment for Khadija to highlight her creativity and highlight her suffering and the suffering of tens of thousands of Palestinians in the Jordan Valley, and she came out of that at her first and only exhibition two years ago, which was set up for her by the wife of the Danish Ambassador in Jerusalem, and sold most of her paintings.

Khadija says that B'Tselem, an Israeli human rights organization that monitors the suffering of the Palestinian in the occupied territories, initiated the exhibition, but did not attend it personally because the occupation refused to grant it permission to enter Jerusalem.

This ban left a lump in Khadija, but at the same time it formed her hope and a new impetus to continue her work despite the setbacks. And for the price of her paintings, she bought her need for drawing tools, and replaced the expensive ones with her making, as she did with the wooden drawing platform that she prepared from wooden waste in her home.

The occupation surrounds the house of Khadija, who has lived through the experience of demolition twice in her husband's house, and countless incursions .. A settlement, an army camp, and a military checkpoint, through which thousands of dunums (a dunam equivalent to one thousand square meters) are confiscated.

Attempts to demolish and uproot
And the latest notifications of demolition added to “insult to injury”, according to her statement, which prompted her to package her paintings and keep them in plastic bags for fear of being affected by the backfilling or demolition, as she had done with the furniture of her house, which she had stacked together.

Among piles of furniture and bedding, Khadija extracted her coated paintings to display them inside the bags in front of her visitors, because she was unable to hold an exhibition in which she expressed her artistic potential.

The decision to demolish extends to a concrete room built before the advent of the occupation in 1967 and inhabited by Khadija and her husband and three daughters and turned part of it into her kitchen, in addition to their residential facilities for livestock and infrastructure and uprooting 600 or more olive trees.

Mahmoud fieryly defends Khadija’s husband for his family and home that the occupation demolished six times, but the seriousness of the recent warnings lies in “mass displacement”, and he says that “the occupation envies us on the hardship and hardness of life and wants to deport us by force.”

Mahmoud supports his wife, and by virtue of his volunteering with a human rights organization, he photographed the occupation's attacks in various areas of the Jordan Valley for Khadija to draw later.

On the corner of the dream, Khadija stands and fights with her art in response to the arsenal of the military occupation, and seeks with all her strength to see her works in the local and external world through an art exhibition that she establishes on her land or elsewhere, even if she prefers there among the ruins.