• Artists : KARINE ROCHE 
  • Venue : ARTSAWA | DIFC
  • Preview : 01 November 2017
  • Start Date : 01 November 2017 Time : 10:00 AM
  • End Date : 22 November 2017 Time : 10:00 PM

    The increase in urban populations and rising number of metropolises throws the whole questioning. The opposing definition of ‘City versus Nature' is an ambiguous one since a city is also part of the ecosystem and nature. Humans create by reflex faced with an environment's new living conditions to which they must adapt. Pollution of water, air and soil has triggered increased ecological awareness.
    The idea of harmony between a human habitat and the place of settlement is not new; organic architecture is a conceptual approach that links the building with its environment. This concept was developed at the beginning of the 20th century and still continues to exist and change with evolving knowledge in symbiosis.
    KARINE ROCHE’s paintings in SYMBIOSIS creates a cosmology in which nature returns to the city center. We can see how composition seeks an alternative rhythm through the network of organic and geometric lines of landscape that intermingle. Photographic views of various geographical locations are visual Karine’s memories that allow us to reconstruct imaginary landscapes. A high density of lines alternate with spaces; these voids are not absences but necessary pauses. In work, perspective is intuitive and acts like an illusionist’s tool to create depth. Thanks to this tool, rhythm is no longer only horizontal or vertical but actually gains a third dimension which absorbs our gaze and immerses it in a vision where urban and vegetal are complementary.
    The concept of 'City versus Nature' highlights the broader question of the vision of the future and the search for a better fit between our lifestyles and the environment. The latter would certainly help resolve ecological and social crises.



  • Start Date : 22 June 2017 Time : 10:00 AM
  • End Date : 20 August 2017 Time : 10:00 PM


    DESIGN | SUMMER EXHIBITION presents a collection of limited edition gifts, perfect for any occasion, by internationally acclaimed designers. The designers include: Nathalie du Pasquier, Cedric Ragot, Ettore Sottsass, Georges Mohasseb, and Gaetano Pesce.

    Ettore Sottsass (b. 1917, Innsbruck, Austria – d. 2007, Milan, Italy)
    Known for his large oeuvre including furniture, jewelry, glass, lighting and office design, Sottsass was also one of the founders of the Memphis Group. His own work was known for its variety, often times incorporating playfulness through ornamentation and color. In 1959 he designed the first Italian electronic calculator and typewriter models such as Praxis, Tekne and Valentine, in which the latter is now part of the permanent collection at MOMA.

    Gaetano Pesce (b. 1939, La Spezia, Italy)
    During his 50-year career, Gaetano Pesce has worked as an architect, urban planner, and industrial designer. His outlook is considered broad and humanistic, and his work is characterized by an inventive use of color and materials, asserting connections between the individual and society, through art, architecture, and design.

    Georges Mohasseb (b. 1973, Beirut, Lebanon)
    Having been working as an architect and designer for sixteen years, Georges Mohasseb has developed a unique design approach that is identified by high level of craftsmanship and complex expression of materials.
    Thanks to his experimentation with materials and textures, he always looks for the best possible and most sensible combinations to execute his designs.

    Nathalie du Pasquier (b. 1957, Bordeaux, France)
    Artist and designer Nathalie du Pasquier moved to Milan in 1979, where she became a founding member of the influential and decade-defining Memphis Group, creating patterns for decorated surfaces, such as textiles and furniture. In 1987, she shifted her focus to painting, in which her work features geometric furniture, lamps, and the unexpected and energetic color relationship for which the Memphis Group is known for.

    Cedric Ragot (b. 1979, Dieppe, France – d. 2015, Paris, France)
    After graduating from the French National Institute for Advanced Studies in Design, Cedric Ragot founded his own design studio in 2002. With Eclecticism as his personal choice, he built a cross category approach of industrial design, getting involved into a broad scope of application fields. Mixing creative imagination and industrial reality, his designs associate with the functional aspect of an object a solid proposition in concept and image. 



  • Artists : ZENA ASSI 
  • Venue : ARTSAWA | DIFC
  • Preview : 23 May 2017
  • Start Date : 23 May 2017 Time : 5:00 PM TO 10:00 PM
  • End Date : 23 July 2017 Time : 11:00 AM TO 10:00 PM


    Zena Assi moved from Lebanon to the UK in 2014. These series include her latest artworks produced in her London studio. The artworks draw inspiration from the emotional, social and cultural baggage we carry with us when we move from an environment to another.

    Facing a new culture makes you question your own. It tackles the identity issue and all the conflicts we are facing when we are rewriting our own story and narrative from tainted memories. 

    The first series, ‘PUT IT IN A TIN’, is a collection of big bouquets’ paintings. The canvas itself is treated as a carpet, laid on the floor for months and months. It witnesses footsteps and dust, used as a draft of rough ideas, a palette cleaner or a coffee holder... When time takes its hold on it, Zena stretches the canvas on a wooden frame and images start to appear through the layers of paint, like shadowy memories emerging from the past. The canvas, now, has its own story to tell and she only has to outline its imageries to be visible to the naked eye. Finally, Zena takes this bouquet and does what her grandmother did before her, and her mother before her, she puts it in a tin, so that the iron would sink into the soil and make the plants grow even stronger…

    The second series, ‘MY CITY-WALL’, reflects the relations and conflicts between the refugees/migrants and the cities they are aiming to get to. Through her work, for more than a decade now, she has been trying to visually translate the city life of our modern society. Zena believes that the structures we build, the architecture language we adopt, and the borders we draw, are all witnesses of our ideologies in one moment in time. They are the dialect history uses to write itself with. And now, unfortunately, we are witnessing the rise of walls again…



  • Artists : SARA SHAMMA 
  • Venue : ARTSAWA | DIFC
  • Preview : 18 April 2017
  • Start Date : 18 April 2017 Time : 01:00 PM
  • End Date : 20 May 2017 Time : 10.00 PM


    Sara Shamma’s “London” is her first new body of work since her relocation to the UK on being awarded a rare and prestigious Exceptional Talent Visa.

    The paintings draw their inspiration from her early experiences of the city as an artist and mother, and her insights on life as a settled resident, freshly welcomed into her local community. 

    This is a second move for Syrian-born Shamma and her young family, who in 2012 fled war in Damascus to the safety of her mother’s home country, Lebanon. This mingling of historical events and personal circumstance gave rise to works reflecting the experience of the individual in the face of collective catalysts to civil unrest and diaspora: phenomena of the artist’s time and place, but common to humanity throughout place and time. 

    Witnesses to physical and mental anguish, her paintings from this period trace the visceral imprints of terror on the body and its expressions. They are figurative evocations rather than portraits, composite characters drawn from real faces and bodies, through the filter of the artist’s mind’s eye. These works distil experiences of conflict, whilst touching on the imponderables of what gives rise to conflict in the first place.

    A regular visitor to London where she has exhibited on several occasions, Shamma arrived this time at the beginning of the academic year and was plunged headlong into the currents of British domestic and family life. Choosing a school for her children and settling herself into the close circle of parents, teachers and friends in her neighbourhood, Shamma’s most striking and immediate observations centred around the extraordinary contrast in attitudes between her children’s primary school classmates and their peers in the Middle East. Where a guarded deference still characterises relations between children and adults in that region, Shamma discerns a refreshing and joyful fearlessness and freedom in the way her children’s new friends relate to teachers, family and other authority figures, much more in line with the way that she herself (an exception due to the liberalness of her own upbringing) was brought up, and the spirit in which she and her husband have parented their two young children. 

    Shamma believes strongly that children who are encouraged to express themselves freely and without fear of reprisal, to be messy and embrace the full playful exuberance of discovery each day, will grow to perpetuate the values of peacefulness and freedom which form the strongest bulwark against civil strife. Happy children will beget more secure adults, who do not readily fall prey to becoming tools in the hands of those who would manipulate their grievances to destructive ends. Whilst they may not be a guarantee against violence and war, they are a prerequisite for democracy, and with it any hope for abiding peace.

    Shamma decided her first work in London should explore and celebrate the spirit of imagination and possibility embodied in the children she has met in these first months. 

    She invited them into her home to sit for a series of portraits which will stand as counterpoints, even antidotes, to her Q, Diaspora and World Civil War Portraits: a visual proposition of what a “good beginning” can look like. 

    During their visit to her studio, the children were given art materials to experiment with, and elements of the resulting paintings and drawings have been selected by Shamma and transposed onto the child’s portrait, integrating their nascent creativity into the work, and making it in a sense a collaboration, as well as a personal evocation of a particular and precious moment in these young lives.

    By reaching out into the community that has welcomed and given her new hope and inspiration, she is consolidating the city’s place in her work as well as her own place within it. To audiences in the Middle East, these paintings are an insight into a more liberal regime of childhood, but they function also as reminder to slightly jaded Londoners of conditions they take for granted, but which are by no means given and immutable. 

    The first paintings in this series will be exhibited at artsawa Gallery in Dubai, in April 2017.  



  • Artists : RYM KAROUI  
  • Venue : ARTSAWA | DIFC
  • Preview : 16 March 2017
  • Start Date : 16 March 2017 Time : 01:00 PM
  • End Date : 16 April 2017 Time : 10.00 PM


    The important aspect of Rym’s work resides in the perpetual questioning of the world that surrounds her.

    A borderline abstraction and faithful to the use of her favorite colors: Rym plays around surprising the other and questioning the spectator’s temporality by painted surfaces that reflect her own reality.

    It is in the characters dialog of the colored forms that she reveals the circus’ stake and craziness.

    Like the excitement of a hazardous discovery, like the liberation of a trapped intimacy, like the expression of a semi-human, semi-animalistic farandole. Rym says "I always have fun, in the eternal dream factory, my life."

    When she works, she tells their stories using a vibrant palette of colors, creating sensations that draw the viewer into a different world; a world filled with movement, spontaneity, optimism and laughter.



  • Venue : ARTSAWA | DIFC
  • Preview : 21 February 2017


    GEORGES MOHASSEB, thanks to his experimentation of materials and textures, always looks for the best possible and most sensible combinations to execute his designs.

    The use of wood is always prominent and remains in many of Georges Mohasseb ’s designs due to its connectivity, liveliness and texture of this material. Georges has constant search for materiality and immateriality that characterizes his designing approach for a strong identity for all and each project he has developed. Either they are architectural, furniture and/or lighting design projects, Georges’s main concerns is to create a limited number of timeless designs maintaining a high level of craftsmanship and a complex expression of materials through their sensory experience including the color, shape, texture and smell as well.
    In Avoca-Avocado, Georges inspiration focuses on a form of the fruit, expressing a return to the natural and organic forms.

    The choice of the Avocado is by no means arbitrary but an inspiration at first by her smooth and appetizing form.

    The avocado is cut in half in order to flatten the top and include the seed in the mass and inlay it in a tinted resin with three solid brass rods supporting the whole. It is a curved shape reflecting light and creating a visual lightness. The colors chosen are rather neutral to better integrate in the places where the work will be laid.

    The exhibition will be Georges’ first exhibition in Dubai.



  • Artists : PINO DEODATO 
  • Venue : ARTSAWA | DIFC
  • Preview : 27 November 2016
  • Start Date : 27 November 2016 Time : 11:00 AM
  • End Date : 27 January 2017 Time : 10:00 PM


    Small, very small, calm, quiet and lonely, these are Pino Deodato’s clay men, on view at artsawa Dubai gallery. Lonely characters are suspended in the exhibition space, almost forming a capillary network of correspondences, voices, cross-references, and each one somehow associated with the other’s loneliness.“The universe is a blue Tree ” is the title of the exhibition, as well as the central essence of a “tranquillitate animi” that pervades Deodato’s small men: to look for something that, you know, you’ll be finding sooner or later, without a care.

    The painted works in clay and bronze, together with a few experiments in pencil drawing on terracotta tile, contrast transient signs with firm material presence.The “rooms” where the small clay statues live allegorically exemplify, in a variety of ways, the means by which knowledge or wisdom is acquired, be it in a library or primordially infused, falling short total knowing. But maybe being content is enough, otherwise one would have to face the idea of never being able to achieve the real goal, or reach the finish line.

    Perhaps the continuous quest for wisdom, without the anxiety of trying to reach the highest peak, is knowledge too. No existential crisis haunts these normal men. Their familiar thoughts have been intimately unveiled. While singularly placid in their daily meditations, they seem resolute in the collective experience of existence.The artist reaches a sort of “humanized symbolism” by telling small stories - what is intimately personal can become symbolic. In Deodato's work every "tile" of men imbued in their thoughts adds to a mosaic of relationships that fill the exhibition space. Little by little something is revealed, but only to those who will search.