Lorna Selim was not yet thirty years old when in the 1950s she decided to move to Baghdad with her husband Jewad Selim, a sculptor and painter who promoted a visual language combining Arab heritage with modern art forms. Her paintings depicting the typical houses overlooking the banks of the Tigris reveal immense attention to detail, a corpus of work created while the city was experiencing an architectural upheaval that would modernize its appearance, and thus creating an even more incisive archive of collective memory.
