Hazem Harb
Al Baseera #10, 2013
Acrylic on fine art paper mounted of board
114 x 184 cm (44 7/8 x 72 1/2 in.)
HAH0032
Hazem Harb
Al Baseera #11, 2013
Acrylic on fine art paper mounted of board
114 x 184 cm (44 7/8 x 72 1/2 in.)
HAH0033
Ahmed Mater
Magnetism V, 2012
Diasec Mounted Fine Art Latex Jet Print
226 x 282 x 6 cm (89 x 111 x 2 3/8 in.)
AHM0077
Nasser Al Salem
Whoever Obeys Allah, He Will Make For Him A Way Out, 2013
Corian Sculpture
55 x 141 x 13 cm (21 5/8 x 55 1/2 x 5 1/8 in.)
NAS0135
Dana Awartani
He Is Who Created The Heavens and Earth In Six Days, 2013
Natural pigments on paper
DAN0035
Sami Al Turki
Gimlet, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0335
Sami Al Turki
Hammer, 2013
Fine art print on archival paper
50 x 50 cm
From Barzakh series, Edition of 8
SAT0350
Sami Al Turki
Screw Driver, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0383
Sami Al Turki
Diamond Grit Sharpening Plate, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0319
Sami Al Turki
Albany-Housing I, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0404
Sami Al Turki
Albany-Warehouse, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0414
Sami Al Turki
Jeddah-Housing II, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0429
Sami Al Turki
Jeddah-Housing IV, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0439
Ayman Yossri Daydban
KFC, 2011
100% Cotton Acid Free Paper
77 x 56 cm (30 3/8 x 22 in.)
AYD0423
Ayman Yossri Daydban
Job Search, 2011
Mixed Media on Museum Quality Archival Paper
77 x 55 cm (30 3/8 x 21 5/8 in.)
AYD0365
Musaed Al Hulis
He Who Closely Observed People Died of Distress, 2013
Prayer Carpet and Surveillance Camera
150 x 76 cm
Variation of 5, Acquired by Teutloff Private Museum, Cologn Germany
MAH0018
Maha Malluh
Arthritis, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
Capturing Light series
MM0099
Maha Malluh
Baby Bank, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series
MM0075
Maha Malluh
Baby Feet, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0100
Maha Malluh
Broken Finger, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0118
Maha Malluh
Bronchitis, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0124
Maha Malluh
Dental Rules, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0130
Maha Malluh
Extractions, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0136
Maha Malluh
Medications, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0142
Maha Malluh
The Mouse, 2007
Lambda Print Mounted on Forex
75 x 95 cm (29 1/2 x 37 3/8 in.)
From the seriesCapturing Light
MM0052
Maha Malluh
The Mouse, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0069
Maha Malluh
Stethoscope, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
Capturing Light Series
MM0179
Maha Malluh
Surgery, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0185
Maha Malluh
RX, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0173
Maha Malluh
Rhumotology, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0161
Maha Malluh
Pregnant X3, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0154
Maha Malluh
Pins & Bottles, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0087
Maha Malluh
Orthodontics, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0148
Maha Malluh
Rib Cage, 2007
Lambda Print Mounted on Forex
20 x 25 cm (7 7/8 x 9 7/8 in.)
From Capturing Light series, Edition of 10
MM0167
Sara Abdu
The Beauty of Internal Structure, 2013
Dry Ink on Paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAB0081
Saddek Wasil
Shahrazad, 2013
Metallic Sculpture
200 x 150 cm (78 3/4 x 59 in.)
SAW0115
Farouk Kondakji
Impression 1, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0006
Farouk Kondakji
Impression 2, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0007
Farouk Kondakji
Impression 3, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0008
Farouk Kondakji
Impression 4, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0009
Farouk Kondakji
Impression 5, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0010
Farouk Kondakji
Impression 6, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0011
Farouk Kondakji
Impression 7, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0012
Farouk Kondakji
Impression 8, 2011
Oil on canvas
20 x 25 cm (7 7/8 x 9 7/8 in.)
FAK0013
Al Baseera is a series of three-dimensional paintings inspired by abstract Islamic art. The objective is to re-view it from different, contemporary perceptions. Forming an interesting and unique conceptual and philosophical collection that transforms into geometrical shapes.
What is often recounted about the aesthetic of Islamic geometry and its splendor is that it quenches the observer’s taste for beauty and awakens the senses. Noticing the difference between the straight and the curved, the moving and the fixed, the closed and the open, the dot and the full circle help appreciate the function of Islamic geometry
The artist believes the role of Islamic geometry is to establish that humans have a unified existences; a solid unit of that is part of the creation of beauty.
Al Baseera is a series of three-dimensional paintings inspired by abstract Islamic art. The objective is to re-view it from different, contemporary perceptions. Forming an interesting and unique conceptual and philosophical collection that transforms into geometrical shapes.
What is often recounted about the aesthetic of Islamic geometry and its splendor is that it quenches the observer’s taste for beauty and awakens the senses. Noticing the difference between the straight and the curved, the moving and the fixed, the closed and the open, the dot and the full circle help appreciate the function of Islamic geometry
The artist believes the role of Islamic geometry is to establish that humans have a unified existences; a solid unit of that is part of the creation of beauty.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
The top of the mihrab weaved in prayer rugs leads the believer to the direction of Mecca. It is where the believer rests his or her forehead in prostration to God in an act of humility and humbleness. Yet the artist highlights that the sanctity of meditation has been violated by advocates of control in the name of security. The human being is being deprived of the basic privacy in the rendering of the most intimate functions, rending concepts of liberty and freedom obsolete. As surveillance is the order of the day, and as behaviours change at the perception of a public, could individuality and free spirit still exist?
Site by Artsystems
