| Haj maps the architecture of pilgrimage as a system of transmission. The work begins with a black field layered over white, echoing the visual base of earlier denim and canvas pieces. Across this surface, Hebrew text appears in grey—faint, sacred, and partially obscured. It evokes scripture as residue, belief as embedded signal.
To the right, a green section radiates stylized radio beams toward receivers on the earth. These signals suggest divine communication reframed through technological metaphor: not revelation from above, but broadcast across distance. The receivers become pilgrims, tuned to receive meaning. The celestial becomes
infrastructural.
The white dividing line, shaped like a highway diagram, reinforces this logic. It is not a butcher’s chart—it is a route. A symbolic infrastructure of movement, segmentation, and ritual direction. It echoes the pathways of the Hajj pilgrimage, where bodies move through sacred geography in choreographed devotion.
In the context of New Morality, Haj critiques the way spiritual transmission is mediated—through language, signal, and diagram. It stages pilgrimage not as a journey of the body, but as a choreography of reception. Belief becomes a frequency. The sacred becomes a system.
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