The phrase "digital cartography" is often repurposed and reinvented in order to tell a story. In Alloush’s work, the term is frequently redefined through a variety of aerial images, abstract line drawings, and a spherical world rendered on a flat surface. Since his last visit to his home country of Syria in 2010, the uncertainty of returning has continued to grow, prompting a deeper examination of his relationship with the Syrian border. In 36° 50', Alloush contemplates the porous and constructed nature of geographical boundaries. What intrigues him most is the deceptively simple yet deeply complex line on a map a line that, when closely observed, carries weighty implications of space, identity, and politics. His objective is to deconstruct and reconstruct this form, rendering it fragile and movable, yet still undeniably present. In doing so, 36° 50' becomes a quiet yet profound meditation on the hope for a world where borders are open. Each etching in this series is created to correspond with the time and destination of the artist’s travels, reflecting his personal experience in each country he visited. The line drawings are composed of fragmented borders measured, scaled, and rearranged to form a larger, imagined country. This composite nation is a poetic and speculative geography, one that merges many into one, challenging the rigidity of existing cartographic logic and proposing a borderless collective identity.

I extend my heartfelt gratitude to my family, whose unwavering trust and support continue to propel my practice. This exhibition would not have been possible without the guidance and camaraderie of Dyala Nusseibeh and the Abu Dhabi Art team. I am deeply grateful to Somar Shadi for composing the accompanying poetry text, and I would like to sincerely thank Mohamed Khaled and Sarah Al Mehairi for their enduring support and companionship throughout the development of this project.