Written by ELSIE LABBAN

Mohamed Ahmed Ibrahim, born in 1962 in Khor Fakkan^[i], United Arab Emirates, was deeply influenced by his homeland's natural beauty and cultural shifts. Growing up during the transformative years^[ii] of the 1960s and 1970s, as the UAE transitioned from a traditional sheikhdom to a modern state, Ibrahim found his artistic muse in the landscapes and history surrounding him. This period of change, marked by the country's formation in 1971^[iii] and the subsequent economic boom, played a crucial role in shaping his appreciation for both modernization and the preservation of nature and heritage.

After graduating with a Bachelor's degree in Psychology^[iv] from Al Ain University in 1986, Ibrahim was mentored by Hassan Sharif^[v], a pioneering figure in conceptual and experimental art in the Middle East^[vi]. As a member of the Emirates Fine Art Society^[vii], Sharif introduced Ibrahim to a vibrant community of artists, writers, and intellectuals. This mentorship, beginning the same year Ibrahim graduated^[viii], steered him away from a career as a police officer and into the heart of the UAE's emerging art scene. Under Sharif's guidance, Ibrahim's work began to reflect a complex interplay of themes such as memory, perception, and the human condition, enriching his artistic narrative and securing his place within the regional art community.

Alongside Sharif, Ibrahim delved into the realms of avant-garde art, in the form of experimental installations where he utilized materials from his surroundings and re-envisioned them to materialize a concept. The artist was also significantly influenced by the poet Ahmed Rashid Thani, a prominent figure in Arabic literature writing about identity, existentialism, and modernity. These were themes that Ibrahim resonated with and reflected through his own art.

Throughout the late 1980s and early 1990s, Ibrahim produced land art, which is created by sculpting the landscape itself. He was inspired by his environment and the scarce artistic resources available in the UAE at the time. Ibrahim crafted his own materials and canvases and developed a ritual of spending ten days camping, during which he created land art using natural elements from his surroundings. Falling Stones Garden, 2020, is a site-specific installation featuring 320 sculptures that mimic the natural rockfall at the base of sandstone cliffs in Al Ula, UAE. Through the vibrant and varied boulder installation, Ibrahim challenges initial perceptions of a monochrome landscape, encouraging a deeper appreciation of the subtle hues and historical depth of the surrounding rocks.

A significant moment in Ibrahim’s career occurred in 1999, while he was producing land art and teaching his technique at the Khor Fakkan Arts Center. Feeling demotivated and undervalued, especially after the removal of his teaching position, Ibrahim burned all the artworks he had produced thus far^[ix]. This act was documented by a friend and marked a pivotal moment of renewal in his artistic journey, as he immediately resumed creating new works the next day. This period also coincided with his engagement in the Sand Palace, a casual gathering spot for artists and intellectuals located between Ajman and Sharjah, where discussions on art and culture flourished from 1991 until the late 1990s.

As a core member of The Five^[1], a group of experimental artists including Hassan Sharif, Abdullah Al-Saadi, Mohammed Kazem, and Hussain Sharif, Ibrahim has been instrumental in shaping the UAE's contemporary art narrative^[x]. Their collective commitment to conceptual art practices, that began in the Sand palace has significantly influenced the region's artistic development, positioning the UAE as a vibrant center for contemporary art on the international stage. As such, Ibrahim's career has been marked by notable achievements, garnering first prize for sculpture at the Sharjah Biennial in both 1999 and 2001. His early recognition set a precedent for his enduring influence^[xi]. As a foundational member of the Emirates Fine Arts Society, he played a crucial role in fostering the local art community. Ibrahim’s establishment of the Art Atelier at the Khor Fakkan Art Centre in 1997 further demonstrates his commitment to nurturing emerging talent.

Among the many experiences of his milieu, Ibrahim had developed a conceptual approach – a novel art movement of the time, prioritizing the idea behind the artwork rather than the traditional aesthetic or technical concern – which was radical for the region at the time. His mentor’s experimentation with assemblages, utilizing everyday materials to create artworks that critiqued consumerism and industrialization, offered a new vocabulary for Ibrahim. This approach encouraged him to explore his relationship with the natural world through art, using found materials and forms from his immediate environment to create works that resonated with a primordial essence, while addressing contemporary concerns.

As a conceptual artist, Ibrahim's practice is deeply rooted in the use of natural materials and land art, drawing significant inspiration from primitive symbols and psychological concepts. His artistic journey transcends the realm of visual representation, venturing into the psychology of perception^[xii] and the reduction of forms to their most elemental state – the dot^[xiii]. This distinct approach underscores Ibrahim's commitment to abstraction^[xiv] and the transformative potential of art to redefine our interaction with the world around us. His creations, often resembling primitive tools or ancient relics, manifest a dialogue between the past and present, where environmental textures and human craftsmanship converge.

In one of his notable works, Untitled, 2022, which is part of the Ramzi and Saeda Dalloul Art Foundation (DAF), Ibrahim presents a vibrant tapestry of anamorphic acrylic shapes arrayed across the canvas. A bright yellow background serves as a lively stage for the bold, blue outlined figures that draw heavily from a visual language reminiscent of ancient cave drawings. Each figure is filled with a flat, matte color in shades of blue, green, and a terra-cotta red, creating a strong contrast with the yellow field. Ibrahim’s color and pattern selection harmonizes with his creation^[xv], inviting viewers into a world brimming with exuberance yet grounded in reflection. A unique language, articulated through repetitive^[xvi], abstract, and primordial figures, highlights his exploration of the UAE's barren deserts and mountains, evoking a sense of childlike wonder tied to core memories, such as witnessing a sunset for the first time as a teenager. Ibrahim’s work on paper, characterized by inscriptions, lines, and abstract forms, further echoes ancient rock art discovered in the prehistoric caves of the Hajjar mountains, capturing the essence of time and memory through meditative repetition. His approach, while evoking historical reverence, is seamlessly blended with a contemporary sensibility through abstraction, affirming his intent not to forge a new language but to achieve the ultimate abstraction and simplification of forms.

Ibrahim’s sculptures, often integrating earth, leaves, tea, coffee, and tobacco, derive texture and form from the raw materials themselves, embodying a physical dialogue with nature^[xvii]. Ibrahim's sculpture Untitled, 2020, is a seminal example of his primordial style. Made out of cardboard, twine, and papier-mâché́, this sculpture echoes Ibrahim’s practice of incorporating organic materials^[xviii]. The textured surfaces and the rudimentary shapes of the structure evoke ancient symbols, similar to totemic figures.

As a culmination of three decades of his work, Ibrahim held a survey show, titled Elements, at the Sharjah Art Foundation in March 2018. The show underscored his evolution as an artist deeply connected to his cultural and natural milieu. The exhibit was “an entire room dedicated to his now recognizable geometric symbols”, as expressed by Anna Seaman, an arts and cultural writer^[xix].

In 2022, Ibrahim represented the UAE at the Venice Biennale with Mohamed Ahmed Ibrahim: Between Sunrise and Sunset. This exhibition, showcasing a new body of work, encapsulated his ongoing dialogue with the landscape and his conceptual exploration of form and material. Once again, Khor Fakkan profoundly shaped his artistic expression^[xx]. Ibrahim’s hometwon did not experience the bright and colorful sunsets common in the rest of the UAE. As the sun set behind the Hajjar mountains, all that was left was the concept of a sun setting. Ibrahim was inspired by this phenomenon, among others, and created art that reflected the colors and figure-like perception of his experiences. The biomorphic abstraction paintings, land art experiments, and the evolution of Ibrahim’s sculptures highlight a spiritual connection^[xxi] with a generation of land artists, sharing a lineage that transcends geographical boundaries. Ibrahim explains that “Place is very important to humanity. Your personality is built by your environment.”^[xxii]

Through decades of practice, Ibrahim has forged an intimate relationship between humanity and the land^[xxiii], challenging contemporary estrangement with a call to harmonize with the natural world. Ibrahim’s ongoing legacy is intertwined with the evolution of contemporary art in the region. His works are part of esteemed collections such as the Sharjah Art Foundation and the Ramzi and Saeda Dalloul Art Foundation (DAF), The British Museum, and Le Centre Georges Pompidou, reflecting a global acknowledgment of his artistic contributions. They are a testament to a lifetime of observation and introspection, inviting viewers to reconsider their relationship with the natural world. Today, Mohamed Ahmed Ibrahim remains a pivotal figure in the UAE, where he resides.

Sources

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"Mohamed Ahmed Ibrahim." Abu Dhabi Culture. Accessed January 29, 2024. abudhabiculture.ae

"Mohamed Ahmed Ibrahim." Sharjah Art Foundation. Accessed February 6, 2024. sharjahart.org/sharjah 

"Mohamed Ahmed Ibrahim: Between Sunrise and Sunset." e-flux. Accessed February 8, 2024. www.e-flux.com 

“Mohammed Ahmed Ibrahim: Biography”. Mutual Art, 2023. Accessed February 8, 2024. www.mutualart.com

Gronlund, Melissa. "A look back: the five UAE artists who shaped the country's contemporary art scene." The National News. September 30, 2021. Accessed January 25, 2024. www.thenationalnews.com 

Seaman, Anna. “A Porous Practice: Mohamed Ahmed Ibrahim”. anna seaman, 2022. Accessed January 29, 2024. annaseaman.net

Seaman, Anna. “Mohamed Ahmed Ibrahim: Elements”. anna seaman, 2018. Accessed January 29, 2024. annaseaman.net 

Shabibi, Lawrie. "Mohamed Ahmed Ibrahim." Lawrie Shabibi. Accessed January 26, 2024. www.lawrieshabibi.com 

Thijsen, Marie-Claire. “ Mohamed Ahmed Ibrahim: Lot Essay”. Christie’s. Accessed January 29, 2024. onlineonly.christies.com

^[1] The term “The Five” originates from the 2002 exhibition in Achen, Germany, titled 5/UAE, held at the Ludwig Forum fur Internationale Kunst.

^[i] "Mohamed Ahmed Ibrahim." Lawrie Shabibi. Accessed January 26, 2024. www.lawrieshabibi.com 

^[ii] Melissa Gronlund, "A look back: the five UAE artists who shaped the country's contemporary art scene," The National News, September 30, 2021, www.thenationalnews.com 

^[iii] Langton, James. “A timeline of UAE history since its founding in 1971”. The National News, UAE. Nov. 28, 2023. Accessed January 22, 2024.www.thenationalnews.com 

^[iv] "Mohammed Ahmed Ibrahim." Sharjah Art Foundation. Accessed January 26, 2024.sharjahart.org

^[v] "Mohammed Ahmed Ibrahim," Abu Dhabi Culture, accessed January 26, 2024. abudhabiculture.ae.

^[vi] “Hassan Sharif Retrospective”. Universes in Universe. Accessed February 12,2024.universes.art/en/specials

^[vii] abudhabiculture.ae

^[viii] "Mohammed Ahmed Ibrahim," Abu Dhabi Culture, accessed January 26, 2024. abudhabiculture.ae.

^[ix] But We Cannot See Them - Artist: Mohamed Ahmed Ibrahim. YouTube, August 25, 2020.

^[x] “Mohamed Ahmed Ibrahim: Between Sunrise and Sunset”. e-flux Announcements. April 29, 2022.www.e-flux.com/announcements

^[xi] Zucca, Alex. “Interview with Mohamed Ahmed Ibrahim / National Pavilion UAE at the Venice Biennale”. XIBT. Accessed February 5, 2024. www.xibtmagazine.com

^[xii] “Mohammed Ahmed Ibrahim.” Artsy. Accessed February 7, 2024.www.artsy.net/artist/mohammed-ahmed-ibrahim

^[xiii] Zucca, Alex. “Interview with Mohamed Ahmed Ibrahim / National Pavilion UAE at the Venice Biennale”. XIBT. Accessed February 5, 2024. www.xibtmagazine.com

^[xiv] Zucca, Alex. “Interview with Mohamed Ahmed Ibrahim / National Pavilion UAE at the Venice Biennale”. XIBT. Accessed February 5, 2024. www.xibtmagazine.com

^[xv] "Mohamed Ahmed Ibrahim." Sharjah Art Foundation. Accessed February 6, 2024. sharjahart.org/sharjah 

^[xvi] Seaman, Anna. “A Porous Practice: Mohamed Ahmed Ibrahim”. anna seaman, 2022. Accessed January 29, 2024. annaseaman.net

^[xvii] “Mohammed Ahmed Ibrahim Interview.” Mid East Art. May 24, 2017. Accessed January 29, 2024.www.mideastart.com

^[xviii] “Mohammed Ahmed Ibrahim Represents UAE in Venice.” South South Art. Accessed January 29, 2024.south-south.art/biennale/

^[xix] Seaman, Anna. “Mohamed Ahmed Ibrahim: Elements”. anna seaman, 2018. Accessed January 29, 2024. annaseaman.net 

^[xx] Shabibi, Lawrie. "Mohamed Ahmed Ibrahim: Elevation." Islamic Arts Magazine. Nov. 2023. Accessed February 7, 2024. islamicartsmagazine.com/magazine/view

^[xxi] “Portraits: Mohammed Ahmed Ibrahim.” Art Dubai. 2021. Accessed February 6, 2024.www.artdubai.ae

^[xxii] Seaman, Anna. “Mohamed Ahmed Ibrahim: Elements”. anna seaman, 2018. Accessed January 29, 2024. annaseaman.net/blog/ 

^[xxiii] Thijsen, Marie-Claire. “ Mohamed Ahmed Ibrahim: Lot Essay”. Christie’s. Accessed January 29, 2024. onlineonly.christies.com