However, as her work developed she shifted from the focus on the political struggles.
Most of her early work consisted of performance pieces, in which she had employed physical confrontation with the audience in order to make her political point. She had applied this procedure with the objective of making a direct statement using her body. The performance usually referenced her background and the political situation that was developing in Palestine. Her artwork contains strong references to surrealism and repeats many of the grid patterns that were found in most of the sculptures, and it brought out the element of the mind in relation to minimalism. Hatoum’s work defines a large variety of different subject matters using different theoretical frameworks. One interpretation of her work can be the description of the body, politics, gender and difference. She explores the dangers and the confinements of the domestic world. A very important point that arises from the different themes and ways in which she works is that all her works have multiple readings of interpretations (MCH Group 1).
Palestinian-born artist Mona Hatoum painted Witness in 2009, Porcelain biscuit 49cm by 24.3cm by 24 cm. Plinth, 121.5cm by 45cm by 45 cm, Edition of 10 plus 2 AP. This piece of art is a miniaturized rendition made of porcelain and is a representation of the Place des Martyrs that is found in the center of Beirut. The sculpture is now turned into an ornament, and faithfully reproduced the mutilation of the monument by the shells and the bullets of the civil war witnessed (“Mona Hatoum: Witness” 1).
Many of her subjects have been related to the harbingers of the new world that included military interventions, exile, displacements and poverty that have led to insecurity and threat. This piece deals with the subject of medals and memorials, and shows that their meaning has changed through time. This piece was produced with the collaboration of the Iraq al Amir women’s