Sara Naim

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	<title>Sara Naim</title>
	<link>https://saranaim.com</link>
	<description>Sara Naim</description>
	<pubDate>Thu, 19 Mar 2026 15:28:31 +0000</pubDate>
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	<item>
		<title>Sara Naim</title>
				
		<link>https://saranaim.com/Sara-Naim</link>

		<pubDate>Thu, 19 Mar 2026 15:28:16 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

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		<title>From the Perspective of Language</title>
				
		<link>https://saranaim.com/From-the-Perspective-of-Language</link>

		<pubDate>Thu, 19 Mar 2026 15:28:17 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/From-the-Perspective-of-Language</guid>

		<description>From the Perspective of Language

Produced intermittently between 2023 and 2026, the large-scale paintings move between figuration and abstraction to examine boundaries and the limits of representation through arrangements of symbolically charged imagery. The series also includes a video performance, Mother Practices Her Tongue (2026), which abstracts the Arabic language into gestures and sounds that no longer produce coherent meaning. Together, the paintings and video extend Naim’s ongoing investigation into how meaning is constructed through inherited systems such as language, symbols, and ideology.


The fragmented paintings explore boundaries at individual, social, and national scales. Naim investigates these boundaries through multiple lenses—from quantum mechanics, which challenges fixed notions of objects, to biological forms like flora, grains, and skin, which shed, pollinate, and traverse landscapes, to symbols of inclusion and exclusion such as religion and a patrol dog. 


Originating from her interest in body tattoos as markers of belief systems, the series treats skin as both subject and medium, with the canvas functioning as a porous surface onto which images are layered. Set against blocks of colour or gradients sourced from Mac desktop backgrounds, images appear digitally “dragged and dropped” and arranged through association rather than linear logic. By leaving space for interpretation, the paintings invite viewers to actively construct meaning— a process reflecting Kant’s idea that understanding arises not from objects themselves but through engagement. 


The video work Mother Practices Her Tongue (2026) continues Naim’s earlier minimal video performances, framing the artist like a photographic portrait. The video explores how language shapes relationships to place, and the roles intuition and gesture play alongside the formal logic of language. Naim practices forming Arabic letters and sounds with her mouth, addressing the camera directly. Repeated out of sequence and in isolated units, these letters dissolve into abstract, guttural sounds, losing semantic clarity while retaining affect. Repetition operates as disruption— a glitch in communication— exposing language as a symbolic system onto which meaning is imposed rather than inherently contained.The video considers language as a bodily, sonic, and symbolic system that, like the painted images, becomes an interface through which experience is mediated. 


Moving between image and speech, surface and body, From the Perspective of Language asks how meaning is constructed and imposed, and where intuition and affect persist beyond formal systems of representation.

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		<title>Tender Grain</title>
				
		<link>https://saranaim.com/Tender-Grain</link>

		<pubDate>Thu, 19 Mar 2026 15:28:18 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/Tender-Grain</guid>

		<description>
	Tender Grain
	

Tender Grain examines flora reliefs on Assyrian monuments as a way to pay
hommage to plants that transgress across borders, despite and because of the
shifting geopolitical conditions. These transformations open discussions about our
relationship to land and to borders, and the series considers how plant migration
echoes broader patterns of human migration, rooted in the fundamental need to
evolve, adapt, and form diasporic communities.

The historical and botanical mapping of the Levantine landscape informs my
interest in plants as symbolic carriers of continuity and displacement. This
research resists romanticised notions of land, instead questioning how nostalgia
and inherited identity shape our perception of connectedness and otherness. As a
Syrian, I feel a strong affiliation to Syrian land, even when national borders attempt
to redefine belonging. Jasmine acts as a sensory anchor that draws me into this
process of identity-making. Differentiated culture and ancestry further inform how
land is understood and remembered.
This series also explores how our perception of the past is constructed through
recorded and therefore mediated histories. Many relics and monumental narratives
are assembled and presented by specific institutions, which shape contemporary
understandings of history.

The enlarged, pixelated images within the works reflect my interest in proximity
and distance, creating distorted perceptions of connection and disconnection. The
series examines how our relationship to land shifts as landscapes, borders,
ecology, and geology evolve.

The collage pieces reassemble scraps from other flora images within the series to
illustrate plants and people's need to congregate into an evolving broader
ecosystem. The background features an extremely magnified handshake of Syrian
president Bashar al-Assad, slowing down the gesture to explore how a simple act
of two hands meeting can carry implications for people and their land.


(selected works)

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		<title>When Heartstrings Collapse</title>
				
		<link>https://saranaim.com/When-Heartstrings-Collapse</link>

		<pubDate>Thu, 19 Mar 2026 15:28:19 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/When-Heartstrings-Collapse</guid>

		<description>


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Heartstrings Collapse


Heartstrings Collapse explores the cross-over between physicality and emotionality. Glitches, which appear through a microscopy photographic process, describe the relationship one has to their own internal body: Inherent but unfamiliar. They behave as vulnerabilities in the technology’s anatomy, abstractly exposing
themselves. Although internal workings aren’t typically seen, emotions physically manifest themselves through involuntary malfunctions, like a stream of
sweat down the forehead from anxiety, cheeks turning red from embarrassment, or a choke when lost for words.

					
The series adopts such physical manifestations of emotions as image titles, such as Tremble, Sweat, Choke, Twitch, Palpitate and Blush.

				
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&#60;img width="2876" height="3937" width_o="2876" height_o="3937" data-src="https://freight.cargo.site/t/original/i/1034fe38aec17879fd0a37015b205f9296de31077ed598cf5f07db7dd81f5896/Sara_Naim_Pallor__137x100cm_2016_300dpi.jpg" data-mid="246252107" border="0"  src="https://freight.cargo.site/w/1000/i/1034fe38aec17879fd0a37015b205f9296de31077ed598cf5f07db7dd81f5896/Sara_Naim_Pallor__137x100cm_2016_300dpi.jpg" /&#62;
&#60;img width="2312" height="3000" width_o="2312" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5a2c2780fa8b23abe8555be7d7b7af6811367ab9c8a1f2da263e9af26f5ec0c9/SaraNaim_Install_Diptych_262x121cmTotal.jpg" data-mid="246252096" border="0"  src="https://freight.cargo.site/w/1000/i/5a2c2780fa8b23abe8555be7d7b7af6811367ab9c8a1f2da263e9af26f5ec0c9/SaraNaim_Install_Diptych_262x121cmTotal.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Rose Tinted</title>
				
		<link>https://saranaim.com/Rose-Tinted</link>

		<pubDate>Thu, 19 Mar 2026 15:28:21 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/Rose-Tinted</guid>

		<description>


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Rose Tinted


Rose Tinted investigates the notion of perception and how it’s shaped through expectation.


The sculptured landscapes are shaped by generalised depictions of utopic scenes, forming trees, mountains, city scapes, a sunset. The photographic depictions, however, do not match their surrounding shape. This misalignment stems from the contradiction between the ideal and real, or the perception of something and its reality.
The series builds upon my preoccupation with borders, examining how they emerge from our expectations.&#38;nbsp; In this ‘medium scale world’, the perception of division, lines, and boundaries are ingrained.&#38;nbsp; Our anticipation of borders not only enhances their significance but also molds our understanding of them. Ultimatley, our expectations fundamentally influence our perception.


&#60;img width="2517" height="3937" width_o="2517" height_o="3937" data-src="https://freight.cargo.site/t/original/i/ef25e50350aa1e6461dd02daa608e0adc5d8779c46d4c3f84e6407c7bc4a13a4/SaraNaim_LightwaveScene_109.6x172cm.jpg" data-mid="246252122" border="0"  src="https://freight.cargo.site/w/1000/i/ef25e50350aa1e6461dd02daa608e0adc5d8779c46d4c3f84e6407c7bc4a13a4/SaraNaim_LightwaveScene_109.6x172cm.jpg" /&#62;
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&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/9446c844493b52c7ebd4efd17f50143f5e520ccf4bacdedfd2150b8c0e24c9c3/20220517_TTL_Sara-Naim-Installation-10.jpg" data-mid="246252118" border="0"  src="https://freight.cargo.site/w/1000/i/9446c844493b52c7ebd4efd17f50143f5e520ccf4bacdedfd2150b8c0e24c9c3/20220517_TTL_Sara-Naim-Installation-10.jpg" /&#62;
&#60;img width="5683" height="3789" width_o="5683" height_o="3789" data-src="https://freight.cargo.site/t/original/i/5a159c28beb8714859cf2fce572337d34543650fe6d8cb8af4afaec89bbdae9e/20220517_TTL_Sara-Naim-Installation-19.jpg" data-mid="246252120" border="0"  src="https://freight.cargo.site/w/1000/i/5a159c28beb8714859cf2fce572337d34543650fe6d8cb8af4afaec89bbdae9e/20220517_TTL_Sara-Naim-Installation-19.jpg" /&#62;
&#60;img width="3509" height="4679" width_o="3509" height_o="4679" data-src="https://freight.cargo.site/t/original/i/0dc538212914aece919f6e59b56aef181cdba22b7c7da66a82c0a12d289658f6/SaraNaim_WindowScene_24.3x36.3cm.jpg" data-mid="246252113" border="0"  src="https://freight.cargo.site/w/1000/i/0dc538212914aece919f6e59b56aef181cdba22b7c7da66a82c0a12d289658f6/SaraNaim_WindowScene_24.3x36.3cm.jpg" /&#62;
&#60;img width="5918" height="8813" width_o="5918" height_o="8813" data-src="https://freight.cargo.site/t/original/i/9e9b596a73b9b91a51eae67d1b8f7ab65bf0ba02a3aa8e44db7614d25e284a54/SaraNaim_RoseScene_169x73cm.jpg" data-mid="246252109" border="0"  src="https://freight.cargo.site/w/1000/i/9e9b596a73b9b91a51eae67d1b8f7ab65bf0ba02a3aa8e44db7614d25e284a54/SaraNaim_RoseScene_169x73cm.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Building Blocks</title>
				
		<link>https://saranaim.com/Building-Blocks</link>

		<pubDate>Thu, 19 Mar 2026 15:28:23 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/Building-Blocks</guid>

		<description>


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Building Blocks


“Building Blocks extends the artist’s preoccupation with micro images and dichotomies between proximity and distance, into an examination of memory and cognitive associations. This series maps the cellular make up of three elements meaningful to the artist: jasmine and soil from her grandmother’s Damascus garden, and Aleppo soap. Triggers of olfactory memories sourced from Sara’s native Syria, the protagonists of these works awaken thoughts of things and places she associates with the realm of the familiar, yet also perceived as foreign.


Using a Scanning Electron Microscope, Sara captures the cellular structure of each sample. The large-scale renditions include deliberate glitches such as formal distortions, light leaks or reticle crosslines—interferences that further abstract the works and hint at the imperfection of memory and longing.
The organic shapes that imitate topographies Sara randomly encounters during her scanning journey, explores the relief of all three samples morphed into one. Ensues the uneasy realization that coming closer is here synonymous with grasping less.” Coline Miliard


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&#60;img width="2689" height="1945" width_o="2689" height_o="1945" data-src="https://freight.cargo.site/t/original/i/c776627ace6a42c29e132c08ab036d522c6a801440a847bd45853df5692f54cb/Sara-Naim_Form-7--2018_C-type-digital-print--wood--plexiglass_325x84cm.jpg" data-mid="246252127" border="0"  src="https://freight.cargo.site/w/1000/i/c776627ace6a42c29e132c08ab036d522c6a801440a847bd45853df5692f54cb/Sara-Naim_Form-7--2018_C-type-digital-print--wood--plexiglass_325x84cm.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Dialects of the Body</title>
				
		<link>https://saranaim.com/Dialects-of-the-Body</link>

		<pubDate>Thu, 19 Mar 2026 15:28:25 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/Dialects-of-the-Body</guid>

		<description>


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Dialects of the Body


Dialects of the Body explores the body’s sinuous division of interiority and exteriority. 


Silent Scream mutedly records the artist scream for as long and as loud as possible, with a breath in between, until reaching the brink of her body. The performative video aims to test physical boundaries, which is contrasted against the RBG tone of her blood, marked through a red square adjacent to the video projection.&#38;nbsp; Painted to the average size of the human face, the notion of expectation and realization are at play.


Video work Kul Shay Imkassr Lazim Embellash Min Jadeed recites a phrase that was echoed in early demonstrations across Syria, which translates to ‘Everything is broken, we must begin again’. As the mantra continues, Naim begin to repeat it incorrectly. The repetition offers distancing rather than familiarization, where the phrase becomes abstract and meaningless over time. The video indicates towards the performative nature of broadcasted news, which is voiced through its old domestic TV screen installation, where tragic events are often heard or unheard. &#38;nbsp;
&#60;img width="567" height="709" width_o="567" height_o="709" data-src="https://freight.cargo.site/t/original/i/f9290bc52e02d8c19f09d2ff9621b61c0c25c4328fce76f1bdf1076cae76aff6/SaraNaim_Leaning_Digital-print-on-Flexible-Plywood--167x45cm--2014.jpg" data-mid="246252142" border="0"  src="https://freight.cargo.site/w/567/i/f9290bc52e02d8c19f09d2ff9621b61c0c25c4328fce76f1bdf1076cae76aff6/SaraNaim_Leaning_Digital-print-on-Flexible-Plywood--167x45cm--2014.jpg" /&#62;&#60;img width="2880" height="3578" width_o="2880" height_o="3578" data-src="https://freight.cargo.site/t/original/i/599e0b835bcc220af724815d9e7a2f0ee62d6b28f49f287be265e6700ca9da38/SaraNaim_PointofEntry4_Graphite-on-paper--18.5x12.2cm--2014.jpg" data-mid="246252147" border="0"  src="https://freight.cargo.site/w/1000/i/599e0b835bcc220af724815d9e7a2f0ee62d6b28f49f287be265e6700ca9da38/SaraNaim_PointofEntry4_Graphite-on-paper--18.5x12.2cm--2014.jpg" /&#62;&#60;img width="1911" height="2299" width_o="1911" height_o="2299" data-src="https://freight.cargo.site/t/original/i/9e7c5d005ba2bd5993b17c3c16721ce96844c50ec0db685655e2b9d0826df367/SaraNaim_SilentScreamAnd-S3060Y70R_InstallationView_HD-Video-Acrylic-Paint.JPG" data-mid="246252144" border="0"  src="https://freight.cargo.site/w/1000/i/9e7c5d005ba2bd5993b17c3c16721ce96844c50ec0db685655e2b9d0826df367/SaraNaim_SilentScreamAnd-S3060Y70R_InstallationView_HD-Video-Acrylic-Paint.JPG" /&#62;&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/3bdb504368dc9ca0fba0d571f883fb5a353a138491beb9108c592eaf605cc900/SaraNaim_Fallen-Cells--Digital-print-on-Cartridge-paper--170x136cm--2014.jpg" data-mid="246252145" border="0"  src="https://freight.cargo.site/w/1000/i/3bdb504368dc9ca0fba0d571f883fb5a353a138491beb9108c592eaf605cc900/SaraNaim_Fallen-Cells--Digital-print-on-Cartridge-paper--170x136cm--2014.jpg" /&#62;&#60;img width="907" height="1136" width_o="907" height_o="1136" data-src="https://freight.cargo.site/t/original/i/d18224397984f0aee96426b31ced0c8f6220bde4b0faf81cabc75c9bec8943da/SaraNaim_KulShay_Video-HD--15min31sec--2014.jpg" data-mid="246252143" border="0"  src="https://freight.cargo.site/w/907/i/d18224397984f0aee96426b31ced0c8f6220bde4b0faf81cabc75c9bec8943da/SaraNaim_KulShay_Video-HD--15min31sec--2014.jpg" /&#62;
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		<title>Reaction</title>
				
		<link>https://saranaim.com/Reaction</link>

		<pubDate>Thu, 19 Mar 2026 15:28:26 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

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Reaction


Reaction consists of expired polaroid film that has been exposed to light, dissected, scanned at high resolution, to form sculptural photographs. Although chemical reactions are predictable and precise, the resulting microcosms of reactions here are precarious due to the Polaroid’s expiration. The constant magnification and examination of the film becomes a dichotomy to the polaroid’s original instantaneous way of image making.


The photograph’s rim mimics the content within the image as a way to free the works of internal and external tensions. Enlarging micro chemical reactions to embody their own shape plays with scale as an interchangeable aspect. 


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		<title>Video Work</title>
				
		<link>https://saranaim.com/Video-Work</link>

		<pubDate>Thu, 19 Mar 2026 15:28:29 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/Video-Work</guid>

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&#60;img width="6422" height="4283" width_o="6422" height_o="4283" data-src="https://freight.cargo.site/t/original/i/7d511b57fba538f2d9221953454e1d6536939abc7fe5f2e9e7766a2a09bdd28f/2026_Mar_TTL_Installation-25.jpg" data-mid="246252175" border="0"  src="https://freight.cargo.site/w/1000/i/7d511b57fba538f2d9221953454e1d6536939abc7fe5f2e9e7766a2a09bdd28f/2026_Mar_TTL_Installation-25.jpg" /&#62;Mother Practices Her Tongue Video HD3 min 21 sec2026&#38;gt; play

&#60;img width="907" height="1136" width_o="907" height_o="1136" data-src="https://freight.cargo.site/t/original/i/f500e5906fa81b7a2a9078fdc523897dc1e4bb3c0d03c817662d025949598b3b/SaraNaim_KulShay_Video-HD--15min31sec--2014.jpg" data-mid="246252167" border="0"  src="https://freight.cargo.site/w/907/i/f500e5906fa81b7a2a9078fdc523897dc1e4bb3c0d03c817662d025949598b3b/SaraNaim_KulShay_Video-HD--15min31sec--2014.jpg" /&#62;Kul Shay Imkassr Lazim Embellash Min JadeedVideo HD16 min 51 sec, looped2014&#38;gt; play


&#60;img width="2100" height="1181" width_o="2100" height_o="1181" data-src="https://freight.cargo.site/t/original/i/7f4f65aa4c0dd04c6a5db19a6719e4faf2d5def543b2a8541795bab0179f3f18/SaraNaim_VideoStill_BodyFrame_VideoHD_3min51sec_2016.jpg" data-mid="246252170" border="0"  src="https://freight.cargo.site/w/1000/i/7f4f65aa4c0dd04c6a5db19a6719e4faf2d5def543b2a8541795bab0179f3f18/SaraNaim_VideoStill_BodyFrame_VideoHD_3min51sec_2016.jpg" /&#62;Body FrameVideo HD3 min 44 sec, looped2016&#38;gt; play

&#60;img width="760" height="1110" width_o="760" height_o="1110" data-src="https://freight.cargo.site/t/original/i/0b64b383123a1d453ab8dda40d1f1682f14d9b85f92d58ad7972a2dc816888fd/SaraNaim_VideoStill_I--You--SomeonePerson..._VideoHD_2013.jpg" data-mid="246252177" border="0"  src="https://freight.cargo.site/w/760/i/0b64b383123a1d453ab8dda40d1f1682f14d9b85f92d58ad7972a2dc816888fd/SaraNaim_VideoStill_I--You--SomeonePerson..._VideoHD_2013.jpg" /&#62;I, You, Someone/Person...Video HD2 min 8 sec2014&#38;gt; play


&#60;img width="2788" height="2100" width_o="2788" height_o="2100" data-src="https://freight.cargo.site/t/original/i/ea39369c18a7f74f37c80b1fbb6f6caa55fb6807f32f831b4b1f9ee27bf3d78e/Ard-Screengrab.png" data-mid="246252179" border="0"  src="https://freight.cargo.site/w/1000/i/ea39369c18a7f74f37c80b1fbb6f6caa55fb6807f32f831b4b1f9ee27bf3d78e/Ard-Screengrab.png" /&#62;
‘Ard 
Video HD16 min 05 sec, looped2016&#38;gt; play


&#60;img width="1911" height="2299" width_o="1911" height_o="2299" data-src="https://freight.cargo.site/t/original/i/28dc5c743d64b70af0cda1021f20b1eab86f8898c477aca032ec237da4ef2ae8/SaraNaim_SilentScreamAnd-S3060Y70R_InstallationView_HD-Video-Acrylic-Paint.JPG" data-mid="246252168" border="0"  src="https://freight.cargo.site/w/1000/i/28dc5c743d64b70af0cda1021f20b1eab86f8898c477aca032ec237da4ef2ae8/SaraNaim_SilentScreamAnd-S3060Y70R_InstallationView_HD-Video-Acrylic-Paint.JPG" /&#62;Silent ScreamVideo HD14 min 31 sec2014&#38;gt; play


&#60;img width="2551" height="2088" width_o="2551" height_o="2088" data-src="https://freight.cargo.site/t/original/i/14de5e636bbd3df520c76cb18a74d37f88e4e5dcd7981f09606132df7064bea3/SaraNaim_TheoryofForms_Still.jpg" data-mid="246252172" border="0"  src="https://freight.cargo.site/w/1000/i/14de5e636bbd3df520c76cb18a74d37f88e4e5dcd7981f09606132df7064bea3/SaraNaim_TheoryofForms_Still.jpg" /&#62;Theory of FormsVideo HD3 min 57 sec2019&#38;gt; play
&#60;img width="1666" height="1252" width_o="1666" height_o="1252" data-src="https://freight.cargo.site/t/original/i/ab1f6b8fe1a6d1dc1281514f77539db258f1ceade5e56868a595e42c21a632e5/SaraNaim_translations.jpg" data-mid="246252180" border="0"  src="https://freight.cargo.site/w/1000/i/ab1f6b8fe1a6d1dc1281514f77539db258f1ceade5e56868a595e42c21a632e5/SaraNaim_translations.jpg" /&#62;
TranslationsVideo HD28 min 05 sec2015&#38;gt; play upon request
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	<item>
		<title>Info</title>
				
		<link>https://saranaim.com/Info</link>

		<pubDate>Thu, 19 Mar 2026 15:28:31 +0000</pubDate>

		<dc:creator>Sara Naim</dc:creator>

		<guid isPermaLink="true">https://saranaim.com/Info</guid>

		<description>
Sara Naim’s practice is inherently multidisciplinary: photographs are sculptural, sculptures painterly, and paintings reference photography. She investigates how meaning is constructed through inherited frameworks such as language, symbols, and ideologies, and how these paradigms shape our understanding of self and world. She often employs technological glitches as metaphors for the limits of language and its inability to capture intuition. This reflects a broader inquiry into how we explain ourselves through representation and symbols rather than lived experience.Sara frequently questions the assumption that proximity produces clarity, proposing instead that closeness leads to abstraction. This tension between distance and intimacy— often materialised through pixelation and scale— mirrors her relationship with her homeland, Syria, which was inaccessible to her for 15 years.At its core, her work examines how rigid notions of separateness operate across individual, social, and national frameworks. Natural motifs, particularly flowers, recur as a way of linking personal ancestry to wider geopolitical conditions. By tracing how people and plants take root across borders, her work unsettles the idea of fixed political and bodily boundaries.


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	CONTACT
info@saranaim.comRepresented by The Third LineBIOB. 1987, LondonSyrian, London based
EDUCATION2014 MFA Fine Art Media, The Slade School of Fine Art, UCL2010 BA (Hons) Photography, London College of Communication2007 Art Foundation Diploma, Chelsea College of Art and Design
SOLO
2026 (on view) From The Perspective of Language, The Third Line, Dubai&#38;nbsp;2022 Rose Tinted, The Third Line, DubaiRose Tinted, Volt, Eastbourne
2020 Shift, Sunny’s Salon, Dubai2019 The Third Line, Building Blocks, Dubai2018 Parafin, Reaction, London2016 The Third Line, When Heartstrings Collapse, Dubai2015 Hayward Concrete, Heartstrings, London2012 Gallery 1, The Pavilion Downtown, When The Lights Went Off We Saw, Dubai
GROUP
2025 The Only Way Out is Through, curated by Shumon Basar, The Third Line, Dubai 

Rays, Ripples, Residue, Warehouse 421, curated by Nadine Khalil, Abu Dhabi&#38;nbsp;


Tasweer Photography Festival, curated by Meriem Berrada, Qatar MuseumSotheby’s, Hot Spots, Dubai
2024&#38;nbsp;Artists in Flux by GUCCI X NOMAD, Skooni Villa, Dubai2023 Pylon, Not knowing yet- possibly not knowing ever, Cyprus&#38;nbsp;
Taoyuan International Art Award, Taiwan2022 Gertrude Presents, LondonThere Goes the Neighbhourhood, Indigo + Madder, LondonRoyal Academy Summer Exhibition, LondonJeddah Photo 2022 (Saudi Art Council)Portrait of a Nation II (ADMAF) Manarat Al Saadiyat, Abu Dhabi2021 Cromwell Place with The Third Line, London2020 Ancient Future, The Third Line, DubaiThere is Fiction in the Space Between, The Third Line, Dubai2019 Centre Photographique Rouen, Science Fictions, NormandieKaviar Factory, Creation of a Moment, Henningsvaer2018 Katzen Arts Center, Tribe: Contemporary Photography from the Arab World, Washington D.C.Stedelijk Museum, Artificial Impressions, Breda PhotoBlyth Gallery, Imperial College, Experiment/Control, LondonWhat's Up, LVH, LondonSans Titre (2016), Chambre 10, Paris2017 Parafin Gallery, Secular Icons in an Age of Moral Uncertainty, LondonThe Third Image, Biennale des Photographes du Monde Arabe Contemporain (Institut du Monde Arabe &#38;amp; 
Maison Européenne de la Photographie), Galerie Binome, Paris2016 Sans Titre Vol. 2 (2016), ParisThe Third Line, Mysticism, Materiality and Void, DubaiSans Titre Vol. 1 (2016), ParisHospital Rooms, The Pierrot Studio, London2015 Hospital Rooms, The Pierrot Project: Entrances &#38;amp; Exits, LondonDisplay Gallery, Here, Here &#38;amp; Sometimes There, London2014 Rich Mix, Photomatter, LondonThe Slade School of Fine Art, Degree Show, LondonV1 Gallery, Hindsight, Copenhagen2013 Neu Gallery, Dazed &#38;amp; Confused Best of Year &#38;amp; Nominated Work, London2012 Lab'Bel Gallery, Au Lait - Quand l'art Déborde, Jura FranceGalerie Huit, Arles Photography Open Salon, Arles2011 Traffic Gallery, The State: Social/Antisocial?, DubaiHost Gallery, Foto8 Summer Show, London2010 Photokina Fair, Academy Meets Photokina, CologneLondon College of Communication, Power of Ten, LondonThe Third Line Gallery, Project Space, Dubai Episode, Dubai
AWARDS
2023 Taoyuna International Art Award, Shortlisted
2020 Civitella Ranieri Foundation Fellowship, Nominated&#38;nbsp;
2018 Foam Paul Huf Award, Nominated
2017 Jameel Prize 5, Nominated2016 Denton's Art Prize, ShortlistedThe Sovereign Art Foundation, Nominated2013 Making Pictures Award, WinnerD&#38;amp;AD, New Blood Award, Shortlisted
RESIDENCIES2019 Cité internationale des Arts, Montmartre, Paris2018 Cité internationale des Arts, Paris2016 Cité internationale des Arts, Paris2015 Beirut Art Residency, BeirutPARTICIPATIONS
2025 VIMA Art Fair, Cyprus
2024 Art Dubai, The Third Line
Clinique La Prairie Artist Commission, Art Dubai&#38;nbsp;
2021 Contemporary Art Lecture, The Slade School of Fine Art2020 Artissima online solo presentation, The Third LineArt Abu Dhabi online, curated by Nada RazaJanuary Artist Takeover, Alserkal Avenue, DubaiNot Cancelled, Online with The Third Line2019 Frieze London, The Third LineHospital Rooms Auction, Hauser&#38;amp;Wirth, LondonFrieze New York, The Third Line2018 Tedx SpeakerTopical Cream Auction, New York2017 Frieze London, The Third LineHospital Rooms Project, London2016 Beyond Borders for NextGen, Blain&#124;Southern, LondonCollectionair, digital solo showArt Barter, Dubai2015 FIAC, Paris, The Third LineArt Dubai, The Third LineSouthbank Centre, Women of the World FestivalPRESS
2026 The National Newspaper, by Faisal Al Zaabi2023 Ocula, Reality Beyond Rose-Tinted Lenses, by Jareh Das2021 Studio visit by DATEAGLE ART. Interview by Vanessa Murrell. Photography by Martin Mayorga2020, Canvas, Unknown Caller, Private Number2019, King Kong Magazine, Microscopic Memories, Georgie Graham, September printCanvas Magazine, Video InterviewReuters, Video InterviewVogue, 5 Arab Stars You Need to KnowMille World, On the Life Changing Effects of MeditationPHROOM, InterviewArab News, The Making of Memories, Iain Akerman2018, TED, How Photography Can Dissolve Perceived BoundariesMille World, InterviewInstant Loveland, Interviewed by Sam CornishHarpers Bazaar Art, Artist Profile, Spring 20182017, arab news, Frieze2016, artnet, Must-See Art Guide: Dubai, Tatiana BergGulf News, Matters of the Heart, Jyoti Kalsi2015, Harper's Bazaar Art Arabia, Winter Issue, Bar None, Nadine Khalil, NovemberTribe Photo Magazine, Laura Egerton, 01 Issue2013, It's Nice That x2, Rising Star, Rob AldersonPhaidon, Sara Naim Goes Tree Spotting2012, Art Forum, Critic's Pick, Murtaza ValiVuu Studio, Super Special 9, Edition of 100Gulf News (interview), On Seeing the UnseenTime Out Dubai (interview), Flawed Images in Dubai2011, Vice, This is What Last Summer Looked LikeDazed and Confused (interview), Rise
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