Mona Hatoum’s poetic and political work incorporates installations, sculpture, video, photography and works on paper.

Hatoum started her career in the 1980s making visceral video and performance work that focused intensely on the body. Since the early 1990s, however, she has increasingly created large-scale installations that aim to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination. In her sculptures, Hatoum transforms familiar, every-day items such as chairs, cots and kitchen utensils into works that seem foreign, dangerous or even threatening. In installations such as Corps étranger (1994) and Deep Throat (1996) she defamiliarises the body by filming the interior landscape of her own body using an endoscopic camera.

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