Amir H. Fallah, "Blurred Boundary & A City Buried In The Past". "Both works reflect on the idea of belonging outside one’s country of origin. In the former, the work conveys the artist’s signature style of portraiture, referencing Iranian-American immigrants who have not returned to Iran since their departure several decades ago. The latter conveys the artist’s signature style landscape, referencing floral Persian ornamentation."
The salon-style hang at Lawrie Shabibi showing works by: Amir Khojasteh, Mohammed Kazem, Farhad Ahrarnia and Philip Mueller. Pictures: Antonie Robertson / The National
Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian's 'Madame Tussauds VI' (2015). The painting depicts, sideways, an image from the wedding of the Duke and Duchess of Cambridge: Princes William and Harry in the background and the Middleton sisters, with wedding train held aloft, in the foreground. The faces are obscured in the painting’s collage of Bacon-esque Surrealism and harlequin geometry.
Faiza Butt, Sleepless Constellations 1 (2017), porcelain painted with under glazes. "These large porcelain bowls are evocative of a few references, covered in meaningful imagery, reflecting on gender, the human condition and conflicts of territory, i.e. (the bowl that features Dome of the Rock centrally, is surrounded by children living in poverty)."
Monika Grabuschnigg - Camouflage #2 (2016) & March-Mellow Confetti, (2016-17). Glazed Earthenware and resin. "Grabuschnigg’s works circle
questions about the meaning, identity and cultural affiliation of objects and ornaments once they have experienced a shift, particularly in the form of souvenirs and other consumer products."
A wide view of The Work Every Day exhibition at Lawrie Shabibi gallery in Al Serkal Avenue, Al Quoz.
Kamrooz Aram's Untitled (Palimpest #37). "Aram's practice investigates the complex relationship between Western Modernism and non-Western art. Working serially, the artist begins each painting with the same floral form sourced from a Persian carpet. This motif is drawn across the surface of the canvas in a grid, creating an overall pattern. Aram then begins destroying and rebuilding this pattern."
Sara Rahbar's You have broken my heart love, tie me up with chains so that I may never feel a new chain again (War). "This sculptural work is of a US Military Rucksack interlaced with prayer beads and military badges. Cultural memory and ideological symbols are remixed with a very direct, physical approach, deconstructing personal history and historic momentum alike."
Larissa Sansour's Archeology in Absentia. The Palestinian artist's "bronze sculpture partly resembles a bomb and partly a Fabergé egg. It contains
a metal disc inscribed with coordinates which refer to locations on the West Bank where the artist has buried porcelain as part of a performance. The piece may be considered a case of reverse archaeology, or a reversal of traditional museum logic, as the objects are placed in the ground today only in order to reemerge in a distant future as archaeological proof."
Amir H. Fallah, "Blurred Boundary & A City Buried In The Past". "Both works reflect on the idea of belonging outside one’s country of origin. In the former, the work conveys the artist’s signature style of portraiture, referencing Iranian-American immigrants who have not returned to Iran since their departure several decades ago. The latter conveys the artist’s signature style landscape, referencing floral Persian ornamentation."
The salon-style hang at Lawrie Shabibi showing works by: Amir Khojasteh, Mohammed Kazem, Farhad Ahrarnia and Philip Mueller. Pictures: Antonie Robertson / The National
Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian's 'Madame Tussauds VI' (2015). The painting depicts, sideways, an image from the wedding of the Duke and Duchess of Cambridge: Princes William and Harry in the background and the Middleton sisters, with wedding train held aloft, in the foreground. The faces are obscured in the painting’s collage of Bacon-esque Surrealism and harlequin geometry.
Faiza Butt, Sleepless Constellations 1 (2017), porcelain painted with under glazes. "These large porcelain bowls are evocative of a few references, covered in meaningful imagery, reflecting on gender, the human condition and conflicts of territory, i.e. (the bowl that features Dome of the Rock centrally, is surrounded by children living in poverty)."
Monika Grabuschnigg - Camouflage #2 (2016) & March-Mellow Confetti, (2016-17). Glazed Earthenware and resin. "Grabuschnigg’s works circle
questions about the meaning, identity and cultural affiliation of objects and ornaments once they have experienced a shift, particularly in the form of souvenirs and other consumer products."
A wide view of The Work Every Day exhibition at Lawrie Shabibi gallery in Al Serkal Avenue, Al Quoz.
Kamrooz Aram's Untitled (Palimpest #37). "Aram's practice investigates the complex relationship between Western Modernism and non-Western art. Working serially, the artist begins each painting with the same floral form sourced from a Persian carpet. This motif is drawn across the surface of the canvas in a grid, creating an overall pattern. Aram then begins destroying and rebuilding this pattern."
Sara Rahbar's You have broken my heart love, tie me up with chains so that I may never feel a new chain again (War). "This sculptural work is of a US Military Rucksack interlaced with prayer beads and military badges. Cultural memory and ideological symbols are remixed with a very direct, physical approach, deconstructing personal history and historic momentum alike."
Larissa Sansour's Archeology in Absentia. The Palestinian artist's "bronze sculpture partly resembles a bomb and partly a Fabergé egg. It contains
a metal disc inscribed with coordinates which refer to locations on the West Bank where the artist has buried porcelain as part of a performance. The piece may be considered a case of reverse archaeology, or a reversal of traditional museum logic, as the objects are placed in the ground today only in order to reemerge in a distant future as archaeological proof."
Amir H. Fallah, "Blurred Boundary & A City Buried In The Past". "Both works reflect on the idea of belonging outside one’s country of origin. In the former, the work conveys the artist’s signature style of portraiture, referencing Iranian-American immigrants who have not returned to Iran since their departure several decades ago. The latter conveys the artist’s signature style landscape, referencing floral Persian ornamentation."
An exhibition in Dubai that installs a new artwork every day for Ramadan
Lawrie Shabibi is hanging an artwork by a new artist every day throughout the month – both from artists the gallery represents, and from their neighbours in Alserkal Avenue