The Who

Ever since I started doing calligraphy, from my early adolescence, I have always worked on lines and points, the basic elements in the aesthetic of calligraphy. Lines and points are my artistic language, the vocabulary of my works. In the beginning I was inspired from outside forms, such as nature, landscapes, shadows, images, texts, and even my dreams. Sometimes visual and sometimes through sounds, but mostly a mix of both. Recently, lines and points have started to come from inside of me, my being. I prolong through the extension of lines, stop at the points, and extend again. The voice of my heart guides me. Happy or sad, calm or agitated, cold or hot. The lines and points are on fire in my heart. They are burning but bring light in the darkness.

Saleh believes and is passionate about Arabic calligraphy rich of heritage and believes that every Arabic letters holds a hidden story behind it’s own shapes and movements. he believes that he should unveil for future generations these stories. Through his 31 years of experience working on his passion he worked in different projects within the GCC and other European countries. Saleh was balancing between his profession in logistics management and Arabic calligraphy. Throw the years of experience Saleh worked in different materials and projects which helped him create his own style in shaping arabic calligraphy letters in memorable form in different projects.

Born in 1968 in Damascus, Syria, Boutros al-Maari graduated with a Ph.D. in Social Anthropology from the École des hautes études en sciences sociales (EHESS) in Paris in 2006, and a degree in Printmaking from the Faculty of Fine Arts, Damascus University, in 1991, where he worked as a Professor of Fine Arts. In addition to being a prolific painter, Al-Maari is a writer and illustrator of children’s books which have been published in Paris. He has held ten solo exhibitions in Damascus, Paris, Dubai and Beirut, most recently at Galerie Claude Lemand in Paris in 2019. He has participated in a large number of group exhibitions in Damascus, Beirut, Alexandria, Kuwait, Frankfurt, Hanover, Paris and Singapore. He currently lives and works in Hamburg, Germany. His works of art have also been acquired by the Ministry of Syrian Culture and Institut du Monde Arabe, Paris (IMA). Furthermore, one of his paintings has recently sold at Christie’s

Born in Tehran, 1974, Sasan Nasernia began his career primarily as a calligrapher and typography artist. Exploring different avenues in Persian and Arabic classical and modern calligraphy, he has since expanded his practice to include painting, print, digital work and installation. Nasernia, who has a BFA from Azad Art University of Tehran; explores a myriad of themes in his practice. He is broadly interested in playing with the tension between two opposing primordial elements of order and chaos. Sometimes borrowing from traditional Persian paintings and iconography, he immerses these elements in abstraction and ambiguity, infused with his letterforms. Nasernia also employs the icons of our world – past and present – to create a visual lexicon of his own. Nasernia’s approach to calligraphy has always been a personal journey to find novel ways to create letterforms out of the most contemporary concepts. By deconstructing the rules of Arabic and Persian calligraphy and by borrowing from the earliest types of this form of art, he has developed his signature format of writing which he playfully calls “Crazy Kufic”. According to Nasernia, “Crazy Kufic” and its unique characteristics allow the artist to explore the concept of fluidity and uncertainty in our natural as well as extramundane worlds. In his recent attempts, he tries a new approach towards the structure of his calligraphic art, where most times a text is completely devoid of meaning; while in contrast, an empty space or a simple symmetrical juxtaposition, may suggest a metaphysical conjecture or even an existential raison d’être. He has exhibited his work in multiple group as well as solo shows throughout the Middle East, United States and the UK. Nasernia currently lives and works in Vancouver. The inspiration behind this body of work came from a philosophical idea that refers to the underlying layer of the world of sounds, words, and tangible objects: an ineffable, vibrant and ever-present substrate. Perhaps the best approach to it can be likened to a form of silence. My goal is to point to this layer and put it in a dialog with the outer layer, which is made up of information and phenomena.

Babak Rashvand, an Iranian artrepreneur who is far ahead of his time was born in 1980. His professional life in calligraphy painting started very early on when he was only 7 years old with his father as a mentor. Since his first drafts and practices, he was greatly inclined to colors and paintings. He outperformed classic calligraphy due to his eye-catching talent in colors and painting. Immediately after high school majoring in visual communication, surprisingly for others yet ordinary for himself, he was among the top-ranking students in both bachelor and master course entrance examinations. Meanwhile, constantly during his education he kept the balance between learning theories and attending practical sketching and painting courses. He has enjoyed prominent honors; among them, the most featured one was the presence and publication of his work as the youngest artist at age 16 in the International World Calligraphy Exhibition and Catalog. Later, he successfully got his M.A. degree in Visual Communication from Tehran University, faculty of fine arts as a top student. Graduation was a critical point in his professional life. Fearlessly he entered the world of letters, to be specific calligraphy. His astonishing talent in recognizing different types and forms of Iranian and Arabic classic calligraphy led him into developing and presenting his style. His perspective was merely focusing on the visual essence of letters. Moreover, he concentrated on the implied visual power that exists in the structure, shapes, and calligraphy as a unifying visual element in his piece of art. Furthermore, abstract calligraphy or calligraphy painting, which is known ‘Naqashikhat’ in Iran, are in numerous ambiances and styles. Although there may have different shapes at the surface, they represent a whole labeled as ‘corporate identity’ which are inspired by the spirits and styles of artists in a different school of thoughts, such as abstract, expressionism, and occasionally contractive and constructivism. Dominant features of his work fall into two fields: his visual attitude towards letters excluding readability and writing, and his creation of new unique forms out of calligraphy painting that is inseparable from his signature. He still illustrates colors and atmospheres in a multilayered way. Usually, he asserts that manipulating colors and lights, his important concept, creates a dynamic and viable ambiance. In conclusion, generally, Babak’s pieces of art are more close to paintings rather than calligraphy. Some of his honors are as follows: taking part in numerous international art fairs and auctions (Tehran Auction 2020 and 2016, Context Art Miami 2016, Abu Dhabi Art 2016, Magic of Persia in Dubai 2015, Bonhams Auction London 2014, Viennafair 2012, Million Auction in Dubai 2012 and 4th International Calligraphy Exhibition & Workshop in Moscow 2012), having his work in museums and some royal families collection, presenting some solo exhibitions ( London, Tehran, Amman and …), publishing articles and teaching arts at universities.

Ahmad Moualla, who studied classical calligraphy, graphics, and visual communication, calls himself a painter and a designer. He is recognized as one of the leading exponents in contemporary Syrian expressionism, and was one of the first of his peers to introduce performance into his work. Moualla has become known for his large-scale figural paintings and a theatrical sense of composition; he explores the relationship between society and the individual, blurring the boundaries between past and present, reality and fiction. More recently, Moualla has begun to incorporate calligraphy elements into his work, which he considers closely related to his representational figuration. In these, the calligraphy is not always legible, sometimes only serving as a texture.

Contemporary Moroccan visual artist Abdessamad Bouysramne (born 1995 in Marrakech)
engages in a variety of artistic mediums. He received his degree from Casablanca’s Higher School
of Fine Arts.
Based on a conceptual and modern vision, Bouysramne has established a broad and extremely
ambitious artistic and professional experience with a variety of interests and orientations.
He has taken part in various solo and group art exhibitions and events over the past few years,
both inside and outside of Morocco. He explores the idea of “Human Influence with the Process
of Time” in his artworks. Since we are the impacts of the future and since we are aware that
modern man is a cumulative product of many of the advancements passed down to us by our
ancestors, we are the ones who decide the traits of our future generations. Due to the cosmic
and visual dimension that writing invokes, which transcends geography and time, he creates
visual archaeological spaces in his works that are intended to awaken the human common and
touch the intersections of civilization.
The tangible and intangible legacies that we possess today raise our astonishment and shape
them. These legacies came from the depth of knowledge and culture that has characterized man
throughout history, and among the most notable monuments that caught the artist’s eye were
those written, whether they were on paper, leather, or carved on rock. Bouysramne was
astounded by this recorded human trace, which also gave him a philosophical and symbolic
vision connected to numerous cultures as he was looking for the civilized commons.
Additionally, the written record—whether it be written, etched,engraved, drawn, etc.—formed
the basis for the growth of science in all of its manifestations. This inspired the artist to choose
writing as a topic of study and endeavor, as well as a crucial component in the visual work he is
attempting to construct.
Although many of them did not withstand intentional and unintentional burns and damages, the
handwriting or sunken or bas-relief inscriptions in our language are considered to have a
civilized spirit that has withstood and resisted the vicissitudes of time. This gives them a
mythological dimension, which Bouysramne pursues in his pigmentary depictions and other
visual artworks.
Abdessamad Bouysramne attempts to capture this conflict between good and evil in the visual
space of his paintings. He emphasizes the positive and luminous influence through personalitybased aesthetics, as an expressive unit at the pinnacle of the world of ideals, where kindness is
the dominant actor. The recipient is made aware of the amount to which man is turned into evil
by the barest forms of decadence as it gives space to unfavorable and bad repercussions in an
expressive manner.
Language is an aesthetic component that can be matched to the various forms and currents of
contemporary art, according to Bouysramne’s artistic interpretation of the Arabic character. As
the founding father of Cubism, Pablo Picasso said, “Whenever I wanted to get to a point, I found
that Arabic writing preceded me.” From the same vantage point, Abdessamad Bouysramne’s
experience extends to include writing and calligraphy in the experience in an effort to develop
fresh dynamics and contemporary art trends. Through the use of pigment photography,
installation art, video, Land Art, and other mediums, he is able to present his ideas and work in a
contemporary manner.

Artist Statement

The letter is erased in Abdessamad  Bouysramne’s recent works, in favor of the singular and scenic presence of writing in its archaeological dimension. That is, the presence of the form in its cosmic dimension, where movement and gesture are the basis for the visual and graphic work of the performer. However, at the same time, the work maintains its iconic sanctity, which is obtained from the sanctity of the obligatory implied letter.

Azzeddine Bourga

Art Critic

Randa Choueiri is an inspiring Jewelry Designer and Interior Architect who passionately sculpts unique, elegant and sophisticated Art pieces, which can be conceived both as Jewels and as Sculptural collector’s pieces in unimaginable dimensions. She has been mostly known for her worldliness in the work of Glass since the late 90s and for her futuristic vision and flexibility with the material she specializes in. Merging between Fashion and Artistic Cosmopolitan Creations, Randa always makes sure to make you or your Interiors stand out from the rest in the work field.

Born in 1979 in Algeria‚He studied at the School of Fine Arts in Algeria. Since 1998, the artist has been invited to exhibit internationally in France, Brazil, Kuwait, Canada, New York Belgium, Bahrain,Dubai, Sarajevo, Italy, Chine, Tunisia and England In 2008, at the request of the Minister of Culture of Algeria, Hamza presented his one man show to celebrate the Opening of the Modern Museum of Algiers.

I was Born in 1971 in the highlands of the Moroccan Rif, in Beni Saîd where I grew up till my late teens. I moved to Paris, France in 1990 to study Mathematics but changed paths to dedicate myself entirely to the art of calligraphy shortly after my studies.

As passionate as i was for Mathematics it was practically impossible for me not to be drawn in by the art of calligraphy from the obeyed certain rules of harmony, logic and balance. I’ve always believed that the makeup of calligraphy was closely connected with mathematical reasoning and geometric rules. Therefore going from mathematical symbols to an artistic interpretation of Arabic lettering was a logical progression for me.

Being self taught artist, calligraphy has been a link to my motherland and to the memories of the first contact with Arabic script at the age of five.

My Arabic creative engagement with calligraphy and words is profoundly rooted in the desire to manipulate letters and words, lines and forms, space and color, depth and perspective. Whether working with ink or painting, mixed media or installation, I devote myself to both the conceptual and the graphic qualities of letters, words and texts. On the canvas, I do not think about what I want to paint . I do not do a sketch before. I totally rely on letters visual poetry .By orchestrating them in painting, I’m just trying to create a space in which they appear, they exist by themselves and give life to the canvas. Creating a modern abstract language of signs : ‘Al Horoufia’ : (lettrism) or Calligraffiti. No matter how it is called the essential is that it gives birth to an ‘Artistic Language’.

Since ancient times, the art of calligraphic penmanship has evolved as a bridge between the spiritual and the material, the verbal and the visual and has transported the Arabic language to the world.

When we talk about Calligraphy, we mean the beautiful hand writing in which the calligrapher faithfully followed the rules set by Masters of Calligraphy.

But when we evoke the « Art of Arabic Calligraphy » we move into another field quite different. It means primarily entering into the realm of art with all its essential features of imaginative expression, individuality, creativeness, aesthetic standards and freedom in creation. Here we are confronted by the vision of an artist and not by the skill of a calligrapher.

In my native Morocco, I grew up speaking, listening, seeing and writing in Arabic.

Looking back, I realized that Calligraphic imagery was everywhere my gaze looked:

In books, on screens, in architecture, on shop fronts and even in mathematical formulas.

Everything was, letter, symbol and script. Now that I live in France for more than 20 years, where the eye is overwhelmed by the image and the painting, I try through my approach of Arabic calligraphy to establish a bridge between this two cultures.

A link between yesterday and now, between today and tomorrow.

A dialogue between the letter in its cultural and linguistic identity and the visual and universal language that it can engender as a painting.

A painting in which it is not necessary to read Arabic to understand the message, to hear the voice of the letters, to see their choreography. The letter communicates with the viewer through its shape and color, through its energy and its layout, through the space in which it moves.

I consider myself very much of a Nomad in respect to my artistic endeavors. I love turning back time, traveling through eras and passing from one vision to another, from calligraphy on paper to a painting of ‘letters’ on canvas. I am constantly looking for balance and harmonious visions. I navigate between color palettes that range from shades of ochre to basic Indian ink. My inspiration is intimately linked to what i read but I can easily move back and forth between the Arab-Andalusian poetry to the contemporary works of occidental poets. I like intermixing in the Arts ; exchanges between artistic forms are often enriching experiences, both creatively and on a humanistic level.

In my paintings, the viewer can read visually what he wants to spell out from my message,  … In this space which is the canvas, my Arabic letters are not limited to their linguistic and significant function and they are not simply an element of the words but they become totally “the signifiers” and “the meanings”

… so developing a kind of Visual poetry.

I am Ali Mlaih (Arabic: علي مليح )، a Bahrain based Calligrapher and Architect who hold a Bachelor of Architecture from The University of Bahrain and and I am the co-founder of Baskail Design which is a multi-disciplinary design studio.
Most of the Arabic calligraphy art I’ve learnt has been through self-guided learning, using books, videos and a large dose of trial-and-error.I also regularly benefits from the master calligrapher Salman Akbar. I traveled to Istanbul for the first time in 2013 and started correction lessons with the master Hassan Çelebi. Currently, I continues traveling regularly to Istanbul in order to keep learning and connections alive

Iranian /Australian Artist – lecturer
Born 1957 Hamadan – Iran
Lives & Teaches in Australia since 2001-2017
Lives & amp; Teaches in Oman since 2018
ARTIST’S STATEMENT:
Since the age of twelve, I have been dedicated to the pursuit of visual art. As the details of my CV
will show, my contribution to the field of art has spanned many years, many countries, and many
projects. My work encompasses a great variety of themes, reflecting my personal experiences of
times of war, and of peace. Using a range of artistic styles, I strive to engage the viewer in the
themes that are important to me, such as the importance of peace and harmony between people, and
the replacement of racism by attitudes of compassion. Apart from continuing as an exhibiting artist
in my own right, my role in encouraging and facilitating the artwork of others has always been
important to me. Not only art students, but also members of the general public, are included in my
efforts to present rewarding artistic opportunities to the various communities of which I am a
member.

An Iranian-American influential (abstract expressionist) painter, was born in 1974, educated in Switzerland and UK.

He began his career as a businessman of raw materials commodities after completing his Bachelor of Art in International Business Administration. However, in his heart he was always passionate about art.

Tehrani’s artistic journey started at an early age. It was then that he had developed a love and passion for painting, collecting works of various artists and participating in auctions.

He began to paint postcards on large canvasses and painting became his pastime. The process was comforting, providing a momentary distraction from everyday stresses of the world and an opportunity to focus on something entirely free from judgement.

Tehrani’s painting career started years later, he has established his distinctive, lyrical (abstract) art and soon after, he was recognized by his vast network of art lovers and art collectors around the globe. For Tehrani creating art is emotionally powerful experience giving him the freedom to express himself however he chooses and to experiment with different mediums and materials based on his own needs and desires. His each piece of art manifests itself, unique aspects of the his worldview, values, and emotions all become evident in his painting. He uses harmony and contrast, playing with colors and creating decorative artworks and 3-D calligraphy and merge the abstract with hidden meaning, tapping on emotion and illusion of observers’ mind while passing feeling of clarity, peace and understanding.

His artworks can today be found in private collections in California-USA, London-UK, United Arab Emirates, Saudi Arabia, Canada, Nigeria-Africa and Hong Kong .

His works are exhibited in various prominent galleries.

Visual Artist

Born in Tangier ( Morrocco1983)

Lives and works between Montreal and Tangier.

SOLO EXHIBITIONS : ( Selection )

2018– Double, Atelier 21 Gallery.

2016- “Recent Works“, Tabari Artspace Gallery. Dubai, UAE.

2014 – « Connotation » Artspace Dubai Gallery. Dubai, UAE.

2013 – « May Allah Forgive Me » ,Julie Meneret Contemporary Art, New York (USA) 2012 – « My Face is a Word », Atelier 21, Casablanca (Morocco)

2010 – Zoom Art Fair, Miami (USA)

  ” Faces of Your Other ” Atelier 21, Casablanca (Morocco

“Recent Works” Artspace Dubai (UAE)

2008 – ” Faces of Your Other ” , Artspace Dubai (UAE)

2006 – ” Le temps de la mort “, Galerie de la Cité Internationale des Arts, Paris. ( France ) “Solitude collective” , Galerie CROUS des Beaux Arts, Paris (France)

GROUP EXHIBITIONS : ( Selection )

2017 – MCAAL Marrakech.

2016 – Art Central Hong-Kong Art Fair.

2014 – Art Toronto art fair. Metro Toronto Convention Centre. Toronto.

-« Memory, Place, Desire » Cantor Fitzgerald Gallery, Haverford College, Haverford. USA, (curated by Carole Solomone).

Artspace Dubai (UAE). Art 14 London Art Fair, London (UK)

2013 -25 Years of Arabic Creativity Institut du Monde Arabe, Paris. France.

-25 Years of Arabic Creativity National Museum of Barhain. Manama, Bahrain.

-25 Years of Arabic Creativity , Emirate Palace, Abu Dhabi (UAE).-

-Art 13 Art Fair, London (UK) Artspace Dubai (UAE) – Atelier 21, Casablanca (Morocco)

2012 – Barbican Centre (Curator: Vincenzo Sanfo ) , London (UK) –

-Art Dubai, Contemporary Art Fair, (UAE) 2011 – Marrakech Art Fair (Morocco) – Art Dubai (UAE)

2010 – Marrakech Art Fair (Morocco) – Art Dubai (UAE)

2009 – Made in Arnhem, International Festival of the Arts, Arnhem (Netherlands) On the Ground, Underground, Intramoenia ExtrArt (Curated by Achille Bonito Oliva ), Barletta (Italy) – Art Dubai (UAE)

2008 – the 11th Cairo Biennale (Egypt)

– Dak’Art, 8 th Biennale of Contemporary African Art, Dakar (Senegal)

– Art Dubai (UAE) – Word into Art : Artists of the Modern Middle East (Curated by Venetia Porter), British Museum at DIFC Dubai (UAE)

RESIDENCIES

2016 -Maison d’art contemporain d’Assillah. Assillah.Maroc

2013 – Reis Studios, New York (USA) .

2008 – Cité Internationale des Arts, Paris (France)

2006 – Cité Internationale des Arts, Paris (France)

GRANTS : – French Embassy in Morocco, Exchange Program with the Moroccan Cultural Ministry

COLLECTIONS : ( Selection )

• –  MACAAL , Morocco.
• –  Vanhaerents Art Collection (Belgium)
• –  Alain-Dominique Perrin Collection, Paris (France)
• –  Barjeel Foundation Collection, Sharjah (UAE)
• –  Jean-Paul Blachère Collection (France)
• –  Bank Al-Maghreb Museum (Morocco)
• –  Banque Populaire Collection (Morocco)
• – Groupe Alliance
• – Royal Mansour , Marrakech
• – Saeb Eigner. London.
• –  Royal Family Collection (Morocco)

SELECTED PRESS

• –  Al-Jazeera America, Interview, November 6th 2014.
• –  Wall Street International, “Summer 2013 Group Exhibition” July 17th 2013.
• –  New York Times,“ Creating Art as Witness to Arab Spring” by Rana F. Sweis, April 4th 2012.
• –  “e Art Newspaper, “ Art Dubai Keeps Strong Regional Identity ” by Georgina Adam, March 22nd 2012.
• –  New York Times,“ Creating a Place for Contemporary Art” by Vinita Bharadwaj, March 21st 2012.
• –  BBC News, “ Arab Spring inspires regional artists” by Sylvia Smith April 22 nd 2011
• –  CNN, “ Artists re#ect Egypt’s revolutionary spirit ” by Neil Curry, April 11 th 2011
• –  BLOUIN ArtInfo, “ Between an Artistic Oasis and a Mirage: Impressions of Art Dubai 2011 ” by Ben Davis, March 22 nd 2011
• –  Le Parisien, “ Dubai: deux tableaux sur le printemps arabe retirés de la Foire d’art contemporain” March 22 nd 2011.

JALAL LUQMAN Is an Emirati mixed media Artist, Sculptor, Curator and Author, an active personality in the UAE’s art scene for more than three decades.

Jalal Luqman is an Abu Dhabi based Artist, who has established himself as a significant Artist in the UAE and internationally, with exhibitions in New York, Kuwait, Tokyo, Egypt, Morocco, the Czech Republic, Washington DC, Beijing and the UK.

In 1996 Jalal introduced digital art to the UAE, making him the first to use Digital art not only in the UAE, but in the entire GCC region.

From there he swiftly gained fame as a mixed media Artist, utilizing his understanding of traditional media in his work with digital paint.

His pioneering spirit gained him many firsts, such as the UAE’s digital Artist, The first freelance graphic designer, and first contracted Emirati website designer for major Government Agencies and large multinational corporations.

Jalal’s work breaks many limits in both meaning and material, combining computer software with metal, wood and other common materials to create works of art that transcend the limitations of the frame to engage and provoke the viewer.

With a Master’s Degree in Cultural and Creative Industries (MCCI), Jalal’s contribution to the Emirati art scene has expanded from only producing art to becoming an advocate for the development of other Artists in the UAE, setting

up initiatives to promote art in the UAE.

With his significant knowledge and his extensive network in the Emirati Art Scene, many have relied on Jalal as an Advisor and Consultant on many projects and activities.

Jalal Luqman has been a member of numerous UAE delegations to many international art events as well as a public speaker for the promotion and advancement of art and Artists in the UAE, he has conducted many seminars and workshops in schools, colleges and universities nationally an internationally.

List of client list includes; ADNOC, Samsung, HP, Abu Dhabi Media, Silicon Graphics, Dubai Ladies Club, The Abu Dhabi Music and Arts Foundation (ADMAF), Al Fahim Group, Kanoo Group, Ajman Tourism, Flash Events, The Royal Family, Abu Dhabi Dept of Culture and Tourism (DCT), Dubai Design District (D3), Dubai Culture, Miral, Special Olympics, Tameer, Flash Entertainment, Mubadala.

Narjes graduated with honor from College of Arts and Creative Enterprises, Zayed University with BFA in Interior Design. She is a professional Arabic calligraphy artist practicing this art since 2000. She’s internationally recognized since 2004 with her first int’l award from IRCICA – Istanbul, followed by another from Algeria’s Int’l Cultural Festival – Tlemcen, Algeria, 2011.

Narjes delivers her artworks in different forms ranging from classical calligraphy plates, to modern paintings, murals and sculptures. She’s implemented the permanent calligraphy murals “Diwan Osha” in the Women’s Museum, the façade artwork of the GDRFA, dozens of other artworks and murals for Emaar’s Boulevard Plaza Towers, Arady’s Central Park Towers in DIFC, RAK Investment Authority, a chandelier “The Shining Letters” at Sharjah Museum and many other high-end projects. In addition, she created tens of logos, design for fragrance bottles with int’l luxurious brands, and has introduced Sheikh Zayed poem “How Beautiful This World Is” in an opera performance influenced by her Arabic Calligraphy art in collaboration with the Royal Opera House – London. Narjes held many open calligraphy workshops for public in different events. She participated in many local and international exhibitions since 2001, and has lately curated other exhibitions

An Emirati artist, born in 1986
He acquired his skills in the UAE, his journey extending
since he was 18 years old with visual arts with Arabic calligraphy, plastic art and sculpture and design.
In his works, he presents a mixture of artistic schools to highlight the beauty hidden in calligraphy
Al-Arabi, as he tries in all his works to embody the culture and heritage of the UAE
The United Arab Emirates is mixed with the modernity that the country has reached at the time
Today, he presented distinguished works for government and private institutions and Liebers hotels
The aspect of development and heritage as a distinctive identity of the United Arab Emirates.
His business is acquired by prominent personalities and prestigious institutions in the UAE

He grew up in an art-loving family and showed a passion for drawing from an early age. Having always leant towards exotic designs, he started to blend them with Arab and Asian culture. Arabic calligraphy has always been an important element in the works of the Emirati, who has left his signature on the main gate of Al Ain Club and also exhibited his works in Sikka Arts and Design Festival and Al Fahidi Historical District.

Graduated from the Faculty of Fine Arts, Helwan University, 1997
He currently works as curator at the Museum of Contemporary Art in Helwan

Ismail started his professional history in 2006
He based his artistic project on abstractions, inspired by Islamic arts and Arabic calligraphy
He works as a photographer, illustrator, and logo designer
His most important achievements in this field is designing the official logo of (Egypt)

Ismail held 9 personal exhibitions inside and outside Egypt
And more than 40 group participation

The most important international participations

Sharjah Biennial of Arabic Calligraphy 2012/2016
Artem Miami Beach with Ubuntu Gallery 2012
(Nun and Qalam) Exhibition of Contemporary Islamic Calligraphy.. Malaysia Museum of Art and Antiquities.. Kuala Lumpur 2013
Al-Hurufiyya Forum.. Katara Foundation.. Qatar.. 2015
Exhibition with the artist Ibrahim El-Desouki at the Arab House.. Madrid 2015
Malukut Exhibition for Handicrafts… Jal Wardiri… Dubai 2016
The Journey of Writing and Calligraphy Exhibition… Second Edition.. Riyadh. Al-Madina organized by the Saudi Ministry of Culture 2023

Museum collections
Museum of Modern Art.. c. M. A
A private collection of 15 paintings at the Malaysia Archaeological Museum. Kuala Lumpur 2013
New collection of 4 works at the Michael Museum of Art and Antiquities.. 2023
Jordan National Museum 2008*
Sharjah Museum of Arts and Antiquities 2016*
Collections of the Saudi Ministry of Culture 2023
He currently works as curator at the Museum of Contemporary Art in Egypt

Sharjah Biennial of Arabic Calligraphy 2012/2016

The Journey of Writing and Calligraphy Exhibition… Second Edition.. Riyadh. Al-Madina organized by the Saudi Ministry ofSameh Ismail

A private collection of 15 paintings at the Malaysia Archaeological Museum. Kuala Lumpur 2013
*New collection of 4 works at the Michael Museum of Art and Antiquities.. 2023
Jordan National Museum 2008
Sharjah Museum of Arts and Antiquities 2016
Collections of the Saudi Ministry of Culture 2023
A private collection of 15 paintings at the Malaysia Archaeological Museum. Kuala Lumpur 2013

Jordan National Museum 2008
Sharjah Museum of Arts and Antiquities 2016

Collections of the Saudi Ministry of Culture 2023

SPECIAL EVENT:
2009 – 2010 Abu Dhabi International Sculpture Symposium 2010, Abu Dhabi UAE
SOLO EXHIBITIONS
2009 “In Light”, Salwa Zeidan Gallery, Abu Dhabi, UAE
2007 Fairmont Gallery, Dallas, USA
2006 Sultan Gallery, Kuwait City, Kuwait
Keramich Atelier, Utrecht, Holland
2004 Ajial Art Gallery, Beirut, Lebanon
Loft 44, Private Space, Beirut, Lebanon
2003 Art METZ, Metz, France
Art Istanbul, Mac 2000, Istanbul, Turkey
Mac 2000 Paris, France
2002 Gallery Pierre-Michel Paris, France
Art Istanbul, Mac 2000 Istanbul, Turkey
“Art for Peace” at Fairmont Hotel Dubai, U.A.E
2001 & 2000 Mac 2000 Paris, France
2000 Gallery Zabbeni, Vevey, Switzerland
“Culture for Peace”, Alchemy Gallery, London, U.K
1999 Fransabank, Private Space, Beirut, Lebanon
Gallery Zabbeni, Vevey, Switzerland
1997 Gallery, Epreuve d’Artiste, Beirut, Lebanon
1995 Cultural Foundation, Abu Dhabi, U.A.E
Gallery Zabbeni, Vevey, Switzerland
1994 Cassia & Zeidan Art Gallery, Abu Dhabi, U.A.E
1990 ARTCHOICE Gallery, Abu Dhabi, U.A.E
GROUP EXHIBITIONs
2021 “REVISIT-REDISCOVER”, Salwa Zeidan Gallery, Abu Dhabi, UAE
2020 “Break Art From Middle East”, Salwa Zeidan Gallery, Abu Dhabi, UAE
2019 “Transpose”, Salwa Zeidan Gallery, Abu Dhabi, UAE
2018 Summer Fresh, Salwa Zeidan Gallery, Abu Dhabi, UAE

Alfred Antoine Moussa is a photography artist, lecturer, coach, and advisor, who was born in Batroun, North Lebanon, in 1973.

Alfred is currently working as a photography coordinator at the Library’s Digitization Center of the Holy Spirit University of Kaslik, (USEK), as a board member, consultant, and photography manager at the reprography center at NABU Museum, El Heri Batroun North Lebanon, and as a collector of archives, manuscripts, private collections, and rare materials.

Art and perfection have been his passion since early childhood. He believes in continuous learning. He participates annually in the Photokina International Photography Fair in Cologne, Germany, and belongs to several international organizations for photography and digitization.

Being fond of photography from the very beginning of his life path, he has captured the nature, architecture, and people of 15 countries and 120 cities in 5 continents.

Alfred has spent great effort and time to organize art exhibitions in Lebanon (Byblos Festival, NABU Museum, USEK University, etc.), Switzerland, France, United States of America, Germany, Mexico, United Arab Emirates (Expo 2020) and Qatar.

His unique and artistic photographs taken during his long journey has enabled him different international awards; from the many we mention the Photo Laureates Award, American Art Festival Award, Georgetown University Award, Word Press Photo Award.

he is a Syrian visual artist

living in Dubai, UAE.

He has a Master’s degree in Fine Arts from Damascus University.

He was appointed as a lecturer in the same university from 2014 till 2018.

Sami has participated in many exhibitions, solo and collective, between Syria, Lebanon, Dubai, Abu Dhabi, Japan, Spain and the USA Since 2012 till present.

she is a Palestinian artist who was born in Jenin City in 1997, Lives

between Jenin and Ramallah.

She completed her fine arts studies at Al Najah University in 2019 and is currently pursuing a master’s degree in contemporary

art at Dar Al Kalima University in Betlehem.

Her studies have allowed her to

collaborate in the cultural and artistic fields and to begin working as an independent artist since 2019

He was born in Sweida City, Syria in 1983. He is a multi-medium artist, painter, installation and video artist, who deals with reality and intimate events with symbolic still-life either sarcastically or mysteriously to trigger the viewer’s attention and curiosity.

He graduated from the Faculty of Fine Arts of Damascus University with a bachelor degree in Oil Painting in 2008.

Since 2006, Shadi Abousada’s works were shown in many exhibitions in Damascus, Beirut, Netherlands, Dubai, Qatar, Paris, London and Switzerland.

His talent was acknowledged by international media and critics.