Artists

  • Artist

    Anna Seaman

    Through a piece of visual art you can learn about history, politics, religion, love, science, music and a whole host of other subjects including personal stories. For Anna Seaman, as a writer, it is a joy and a passion to set herself the challenge of writing about visual art and the messages that artists wish to convey with their work. Currently, Anna runs her own online portal featuring art-related news, reviews and features. Prior to that, she was the visual arts writer at The National newspaper, whose headquarters are in Abu Dhabi. Anna is from the UK and has been living in the Middle East for 10 years. You can find Anna's work on her website. [http://annaseaman.com]

  • Anna Seaman
  • Uns Kattan
  • Artist

    Uns Kattan

    Programmes Manager at Art Jameel

  • eL Seed
  • Artist

    eL Seed

    eL Seed is a French-Tunisian artist known for his intricate compositions

  • Artist

    Nadim Karam

    The multidisciplinary practice of Lebanese artist and architect Nadim Karam incorporates painting, drawing, sculpture, and writing in the creation of bold and inspiring, uncanny artworks that challenge common preconceptions. With a background that fuses Oriental and Japanese theories of space, Karam has created his own concepts and a distinct artistic vocabulary that tackles the universality of the human condition, working towards the reconfiguration of environments. His research focuses on the conviction that cities need to dream, and it is the role of artists to provoke this dream, injecting art into still structures by setting up silent, yet palpable, cultural movers with the power to act as magnets that influence the paths of people. Thus, cities are often the inspiration and target sites of his groundbreaking conceptual proposals and initiatives. Born in 1957 in Senegal, Karam lives and works in Beirut, where in 1996 he founded, and still leads, a satellite grouping of Lebanese architects and designers: Atelier Hapsitus. Based on a cross-fertilisation of disciplines and nationalities, the twenty- year-old practice has a multidisciplinary composition, which feeds into the experimental nature of its work.  Karam initially trained in architecture at the American University of Beirut before travelling to Japan in 1982 to attend the University of Tokyo. In Japan, he studied with world-renowned architects and thinkers Hiroshi Hara, Fumihiko Maki, and Tadao Ando, and earned a doctorate in architecture. He was the Dean of the Faculty of Architecture, Art, and Design at Notre Dame University in Lebanon (2000-2003) and taught architectural design at the American University of Beirut (1993-1995; 2003-2004). Karam has been commissioned to create large-scale urban art installations for cities across the globe and has participated in international events such as the Liverpool (2006), Venice (1996), and Gwangju (1995) biennales. Recently he has held solo shows at The Fine Art Society, London (2017); Ayyam Gallery Beirut, Dubai, and London (2017, 2013), and has been featured in group exhibitions at venues such as Ayyam Gallery, Beirut (2014); the Shanghai JSIP Biennale (2014); Institut du Monde Arabe, Paris (2013); Villa Empain, Brussels (2012); and the Royal College of Art, London (2012).  Nadim Karam’s latest book _Stretching Thoughts _was published by Booth Clibborn Editions, London in 2013. Works from the same series were mounted in UWC Atlantic College, Wales in 2016. 

  • Nadim Karam
  • Jacob Hashimoto
  • Artist

    Jacob Hashimoto

    Using sculpture, painting, and installation, Jacob Hashimoto creates complex worlds from a range of modular components: bamboo-and-paper kites, model boats, even Astroturf-covered blocks. His accretive, layered compositions reference video games, virtual environments, and cosmology, while also remaining deeply rooted in art-historical traditions notably, landscape - based abstraction, modernism, and handcraft. Jacob Hashimoto was born in Greeley, Colorado in 1973 and is a graduate of The School of
the Art Institute of Chicago. He lives and works in Queens, New York. Hashimoto has been
 featured in solo museum exhibitions at MOCA Pacific Design Center in Los Angeles, MACRO Museum of Contemporary Art in Rome, Fondazione Querini Stampalia in Venice, LACMA - Los Angeles County Museum of Art, Schauwerk Sindlefingen in Germany, and the Wäinö Aaltonen Museum of Art in Finland. Also he had solo shows at Mary Boone Gallery in New York, Rhona Hoffman Gallery in Chicago, Studio la Città in Verona, Galerie Forsblom in Helsinki and Anglim Gilbert Gallery in San Francisco, among others. His work is in the collections of LACMA - Los Angeles County Museum of Art, EMMA - Saastamoinen Foundation, Schauwerk Sindelfingen, The California Endowment, and numerous other public collections

  • Artist

    Farhad Moshiri

    Living between Tehran and Paris, Farhad Moshiri has developed a personal language in which he discusses commonalities in Iranian and Western cultures. Inspired by Pop art, Farhad overturns both pop culture and highbrow imagery by transforming it into figurative artwork. His pieces are made using everyday objects as well as sparkly, luxurious materials such as pearls, crystals, sequins, and gold leaf.  Although his oeuvre appears as playful and decorative, beyond the shimmering surfaces Farhad casts a more cynical and often critical eye. He addresses the flaws of contemporary Iran all while toying with its traditional forms, and acknowledges the appeal of the Western world in addition to its limitations. Farhad began experimenting further with materials that comprise everyday found objects – skillfully layering such materials as cake icing dispensers, embroidery, Swarovski crystals, and even assortments of kitchen knives to make works that incorporate increasingly textured and sculptural approaches. His use of such materials continues to demonstrate his ability to go beyond the confines of pure aestheticism with playful irreverence and layered meaning. In his usual subdued impertinence, Farhad deploys his mastery of Iranian visual vernacular, as well as an acute awareness of popular culture and art history, to evoke pertinent issues of our times. Through ‘candy’ colors and hybrid materials in paintings and installations, he plays with the codes of modernism while developing a flamboyant iconography. ------------------------- Bio text and image courtesy of the artist and The Third Line, Dubai.

  • Farhad Moshiri
  • Jean Boghossian
  • Artist

    Jean Boghossian

    Jean Boghossian is an abstract multidisciplinary artist whose artworks all bear, at different degrees, traces of burn degradation. Through the process of willful damage and the use of a blowtorch instead of a paintbrush, Boghossian raises the questions of what it means to create inextinguishable art with an invasive and violent, yet poetic method that intends to combine media by creating a construction through the deconstruction of flames. Born in Aleppo in 1949, Boghossian stems from a family of jewelers for whom he worked while studying Economics and Sociology at University of Saint-Joseph in Beirut. In 1975, the Lebanese Civil War forced Boghossian to leave the country and settle in Belgium where he resides today. Over three decades ago, Boghossian decided to enroll in the Academy of Fine Arts in Boitsfort while continuing to oversee the family business. In 1992, he created the Boghossian Foundation with the support of his brother and father. Globally, Boghossian is one of the few artists who experiments by applying fire and smoke to various works. Fire, being his artistic language of choice, is presented via a wide array of torches as his medium. Having transitioned a little more than a decade ago towards abstraction through alchemy, Boghossian’s art evokes a contemporary view on the Zero-movement and Fluxus. This being said, he does not belong to any recognized movement or school. Objects that Boghossian has attacked through the flame include canvas, paper, books, and even chairs, at times leaving behind patterns of perforation. In his paintings and drawings, Boghossian uses different multimedia including watercolor, charcoal, oil, and acrylic paint with techniques that include folding, collage, and arrachage. Boghossian’s sculptures range from wood, polystyrene, clay, and bronze, some of which are flame-sensitive.  Boghossian has participated in recent solo and group exhibitions at Ayyam Gallery, Dubai (2018) Art Abu Dhabi (2017, 2013); 57th Venice Biennale (2017); Musée d’Ixelles, Brussels (2017); Beirut Exhibition Center (2015, 2011); Fondazione Palazzo Albizzini Collection Burri, Città di Castello (2015); Museo Archeologico di Atina e della Valle di Comino, Atina (2015); Villa Empain - Boghossian Foundation, Brussels (2014); Youngeun Museum of Contemporary Art, South Korea (2012); Galerie Guy Ledune, Brussels (2012, 2010, 2009, 2008, 2007); and Amernian Center of Contemporary Experimental Art, Yerevan (2007). ------------------------- Bio text courtesy of Ayyam Gallery. Image courtesy of the artist. 

  • Artist

    Zak Ové

    Zak Ové (b. 1966, London) graduated in 1987 with a BA in Film and Fine Art from the St. Martin’s School of Art, London. Today he works in sculpture, film, painting and photography, often collaging the various elements through his use of found, cast and recovered materials. Ové seeks to reignite and reinterpret lost culture and mythology using new-world materials whilst at the same time paying tribute to both spiritual and artistic African identity. Constantly finding unpredictable ways to express recognisable, traditional African forms his practice explores African identity, the African diaspora and African history. Ové also draws inspiration from the Trinidad carnival, a tradition started by French immigrants in the 18th century as an elaborate masquerade ball and later influenced by the transatlantic slave trade. African slaves used masks and developed Calypso music to mock their masters and communicate between themselves and after the emancipation freed slaves took over the streets using song, dance and masquerade as a symbol of freedom and defiance. He has participated in numerous solo exhibitions including _Black and Blue: The Invisible Men and the Masque of Darkness_, 1:54 Contemporary African Art Fair, Somerset House (Courtyard), London, 2016; Arms Around The Child, No1 Mayfair London, 2014; Speaker, Vigo Gallery, London, 2013-14; Past Future, Fine Art Society, London, 2010; and Black & White Nudes, Carte Blanche Gallery, London, 2008. In 2014 Ové became the first Caribbean artist to be commissioned by the British Museum, with his pair of seven-metre high Moko Jumbie sculptures exhibited in the Great Court as part of the Celebrating Africa exhibition. They are now permanently installed in their Africa gallery. He has participated in other museum and institutional shows including _Black and Blue: The Invisible Men and the Masque of Darkness_, Yorkshire Sculpture Park, Wakefield, 2017; _Twice Is Too Much_, The Freies Museum, Berlin, 2010 and _Blue Devils_, Real Art Ways Museum, Connecticut, 2009. _Black and Blue: The Invisible Men and the Masque of Darkness_, will travel to City Hall Plaza in San Francisco for a period of three to six months from July 2018. He is the recipient of the Cinit Award for Best Short Film at the Milan African Film Festival; the Black Film & TV Awards for Best Short Film, Best Short Film Director, and Best New Talent in 2002 and the SoHo Images award for Best Short Film in 2002.   His works are in several collections including British Museum, London, UK; Newark Museum, New Jersey, USA; Pérez Art Museum Miami, Florida, USA; Modern Forms, London, UK; David Roberts Art Foundation, London, UK; Jameel Collection, Saudi Arabia; Facebook Corporate Collection, London, UK; 21 C Museum, Louisville, Kentucky, USA; Beth De Woody Collection, New York, USA; Walid Kamhawi Collection, Dubai, UAE; Frédéric de Goldschmidt, Brussels, Belgium; Levett Collection, London, UK and the Pizzuti Collection, Columbus, Ohio, USA. The artist lives and works in London, United Kingdom, and Trinidad, Trinidad and Tobago.

  • Zak Ové
  • Haleh Redjaian
  • Artist

    Haleh Redjaian

    Haleh Redjaian (born 1971, Frankfurt) lives and works in Berlin. She studied Art History at the Goethe University of Frankfurt and furthered her studies in Drawing and Printmaking followed by Sculpture at the Royal Academy of Fine Art in Antwerp. She completed a Postgraduate degree in Fine Art from the Higher Institute of Fine Art in Antwerp. Later, Redjaian moved to Berlin where she worked as assistant to well-known Venezuelan artist Arturo Herrera for eight years. During these years, Redjaian maintained her own practice and participated in several group exhibitions at independent project spaces and institutions and also created site-specific installations in temporary exhibition spaces. She staged her first solo exhibition at Arratia Beer in Berlin in 2015. She works in a variety of medium, predominantly works on paper, textiles, murals and spatial installations often referring to architecture. Grounded in geometry, she uses its rules to reshape and retrace the apparent order of angles and lines. Her compositions subtly belie their own errors and form what she calls a ‘natural abstract language’.  She has recently staged solo exhibitions in German institutions including in sequence I at Bregenz Kunstverein, Austria and in sequence II at Munich's Federkiel Foundation (2016). Later that year, she presented Verknupft, Haleh Redjaian und die Sammlung (Entangled – Haleh Redjaian and the Collection) at Museum for Konkrete Kunst, Ingolstadt where she also participated in the travelling exhibition entitled Out of Office, which was first staged at the Museum fur Konkrete Kunst in 2017, followed by the Stadtische Galerie, Bietigheim-Bissingen in 2018. Her works are held in the BIC Collection (France), and will be exhibited at Le Centquatre, Paris (2018) as part of the collection’s exhibition, the Progressive Art Collection, Cleveland (USA) and Marli Hopper Ritter collection, among others. ------------------------- Bio text courtesy of Gallery Isabelle van den Eynde.

  • Artist

    Nazgol Ansarinia

    Nazgol Ansarinia examines the systems and networks that underwrite her daily life. Born and raised in Tehran, she dissects, interrogates and recasts everyday objects and events to draw out their relationships to the contemporary Iranian experience. She reveals the inner workings of a social system by taking apart its components before reassembling them to uncover collective assumptions and their underlying rules of engagement.  Her work is characterised by an emphasis on research and analysis that is a legacy of her design background, as well as by her continued engagement with critical theory. Her mode of working covers diverse media—video, 3D printed models, municipal murals and drawings—and subjects as varied as automated telephone systems, American security policy, the memories associated with a family house, and the patterns of Persian carpets.  Ansarinia’s practice is sited upon the fraught faultline between the private realm and its wider socioeconomic context. Even as its concerns have shifted from the intimacy of domesticity to an interest in the built environment, it has maintained an engagement with physicality and materiality. Still, the traces of lived experience—of owners, of residents—remain important. As a whole, the works explore how local iterations of a culture might act as a fulcrum and flashpoint for the hopes and fears of people living in an increasingly, albeit asymmetrically, globalised world.  Born in 1979 in Tehran, Nazgol Ansarinia graduated from the London College of Communication in 2001 before taking a Master of Fine Arts at the California College of the Arts (CCA) in San Francisco in 2003.  Nazgol Ansarinia was selected for the first MOP/Parasol unit Research Residency in 2014; she took part in the National Pavilion of Iran at the 56th Venice Biennale (2015); 10th & 12th Istanbul Biennial (2007 and 2011), and was a recipient of the Abraaj Capital Art Prize in 2009.  Ansarinia has been featured in a number of publications such _Contemporary Practices_, _Bidoun_, _Asian Art Newspaper_, and _Financial Times_. Her work is included in the collections of Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Australia; the British Museum and Tate Modern, London, UK; Los Angeles County Museum of Art (LACMA), Los Angeles, USA;the Devi Art Foundation, Delhi, India.  Nazgol Ansarinia lives and works in Tehran, Iran. ------------------------- Bio text courtesy of Green Art Gallery.

  • Nazgol Ansarinia
  • Gil Heitor Cortesão
  • Artist

    Gil Heitor Cortesão

    b. 1967 in Lisbon, Portugal. Lives and works in Lisbon, Portugal Having studied at FBAUL, Lisbon and Licenciatura em Artes Plasticas, Pintura, Cortesão’s largely Europe-based exhibitions display his realistic painting technique of architecture, both interiors and exteriors, which exude a tone of melancholy stillness, as though abandoned, but not forgotten. Cortesão disrupts the illusion with explorative paint splatters and surface manipulation of his paintings on plexiglass. He has exhibited in several institutions including CAM Centro de Arte Moderna and Fundacao Calouste Gulbenkian, and is part of the permanent collections of the ARCO Foundation (Madrid), MUDAM (Luxemburg) and Fundacion Pedro Barrie de la Maza (A Coruna), amongst many others. ------------------------- Bio text courtesy of Carbon 12. 

  • Artist

    Kenny Scharf

    Born in Hollywood, Califonia in 1958, Kenny Scharf lives and works in Los Angeles, California and New York, New York. Kenny Scharf rose to prominence alongside his friends and contemporaries Jean-Michel Basquiat and Keith Haring in the East Village art scene of the 1980s.  One of the first artists to inject elements of street culture into the mainstream of contemporary art, Scharf has continued to pioneer projects like his Cosmic Cavern—a now legendary all-night DayGlo disco party held in the basement of a Brooklyn warehouse from 2009-2010. His paintings incorporate imagery from advertisements, cartoons and classic Americana into exuberant compositions with an underlying subversive edge.   His work has been included in numerous group exhibitions and he has had solo exhibitions at Pasadena Museum of California Art (2004); Los Angeles Contemporary Exhibitions, Los Angeles (2001); Portland Institute for Contemporary Art (1999); The Dali Museum, St. Petersburg, Florida (1997); University Galleries of Illinois State University, Normal, Illinois (1997); Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico (1996); and Museum of Art, Fort Lauderdale, Florida (1995) among other locations around the world. ------------------------- Bio text courtesy of Leila Heller Gallery. 

  • Kenny Scharf
  • Philip Taaffe
  • Artist

    Philip Taaffe

    Philip Taaffe was born in 1955 in Elizabeth, New Jersey (USA), and lives and works in New York City and West Cornwall, Connecticut. Taaffe derives inspiration from a variety of sources, including Islamic architecture, Pompeiian mosaics, 1960s Op Art, and nineteenth century monographs on natural history. His first solo exhibition was in New York in 1982. He has traveled widely in the Middle East, India, South America, and Morocco. Taaffe lived and worked in Naples from 1988-91. He has been included in numerous museum exhibitions, including the Carnegie International, two Sydney Biennials, and three Whitney Biennials. In 1990 his work was the subject of an extensive critical study in Parkett no. 26 (Zurich & New York). His work is in numerous public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Whitney Museum of American Art; and the Reina Sofia, Madrid. In the year 2000, the IVAM museum in Valencia organized a retrospective survey of his work, with contributions by Enrique Juncosa, Robert Rosenblum, and Robert Creeley. In 2001 an extensive survey of his work was presented by the Galleria Civica of Trento, Italy (with texts by Vittoria Coen and Francesco Pellizzi). In 2004 the Galleria d’Arte Moderna in San Marino (Italy) presented a survey of paintings and drawings based on the artist’s explorations with floating pigments and the paper marbling process, accompanied by the Skira publication, Carte annuvolate (Cloud Papers) with essays by Peter Lamborn Wilson and John Yau. In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980-2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer, and Brooks Adams.  Text courtesy of Leila Heller Gallery.

  • Artist

    Kamrooz Aram

    Kamrooz Aram’s diverse practice often engages the complicated relationship between traditional non-Western art and Western Modernism. Through a variety of forms including painting, collage, drawing and installation, Aram has found the potential for image- making to function critically in its use as a tool for a certain renegotiation of history.

  • Kamrooz Aram
  • Ana Maze interview
  • Artist

    Ana Maze interview

    Born in 1980 in São Paulo, where she is still based, Brazilian artist Ana Mazzei is interested by men and narratives and their inseparable relationships. It is from this perspective that her work develops and grows. For the artist, art, architecture and landscapes construct, in themselves, a fiction that connects them, resulting in installations, settings and objects. Some of the works operate on a smaller scale, such as the series of installations arranged on the floor formed by groups of small shapes made of felt, concrete or wood similar to the architectural models of old cities, amphitheaters or monuments. Beyond the formalist exercises, these floor objects invoke unidentified stories that suggest hidden and impenetrable archetypal structures. This dual movement, suggesting and retaining the symbolic value of the objects, is recurrent in her practice. Mazzei’s artworks are like pieces and fragments of myths, lives and fictions that are represented in drawings, videos, sculptures and installations. At other times, her works function as observation devices framing this vast repertoire from a specific point of view. Focusing on a widely experimental practice, the artist appropriates different sensorial materials, such as felt and concrete, connecting to the environments in which she works.