Untitled, 2022, is an abstract artwork by conceptual Emirati artist, Mohamed Ahmed Ibrahim. The painting depicts eleven anamorphic shapes that evoke and resemble ancient cave drawings^[1]. They are painted in various blues, from dark aquamarine to cobalt turquoise and teal. These minimalist figures are made more vivid through the layering of bright colors such as cadmium red, light pink, and aquamarine in alternating order. The top layer of each of the symbols is always blue, which complements the backdrop of cadmium yellow and expresses a sense of energy and celebration.

The artwork reflects Ibrahim’s visual language, which relies on a fusion of inscriptions and abstracted forms such as circles, rectangles, and lines^[2]. Through recurring patterns and recognizable symbols, this simple yet familiar language conveys a sense of the landscape that Ibrahim often draws upon for inspiration. Ibrahim uses these rune-like forms to represent the natural environment surrounding his hometown, Khorfakkan^[3], which is situated between the Hajar Mountains and the Arabian Sea. The shapes reflect Ibrahim’s approach to his art process, which prioritizes his hometown as the main point of departure^[4]. For instance, the different shades of blue may symbolize the broken reflection of light on the sea water, while the bright yellow with the red undertone evokes the scorching heat of the sun.

However, despite the symbols proximity to written inscriptions, Ibrahim insists that his intention is not to devise a new language, but rather to achieve the ultimate abstraction and simplification of forms^[5]. His creative process starts with a dot—the fundamental shape—and his aim is to distill all forms to this essence^[6]. This reductionist approach becomes apparent in his artistic approach as he simplifies everyday objects into basic shapes and colors^[7]. Moreover, the artist asserts that genuine repetition does not exist in art because even when drawing lines side by side, they cannot be identical^[8]. Rather, each stroke of a brush possesses its unique motion and time, making the lines inherently distinct and new^[9].

Ibrahim is a prominent figure among the United Arab Emirate's first generation of contemporary artists emerging in the late 1980s^[10]. With a lifelong connection to the environment of Khorfakkan, Ibrahim's artistic journey reflects his intimate relationship with his local surroundings. Ibrahim's pivotal role in forming the Emirates Fine Art Society and his unique artistic perspective underscore his contribution to the creative community in the UAE. Currently residing and working in Khorfakkan, Ibrahim's art mirrors his connection to his land as it strives to encapsulate the essence of his surroundings.

Sources:

^[1] Rebecca Anne Proctor, “Mohamed Ahmed Ibrahim Discusses Sunsets, Nature and His Hometown Ahead of the Venice Biennale,” Arab News, February 1, 2022, www.arabnews.com 

^[2] “Mohamed Ahmed Ibrahim,” Lawrie Shabibi, accessed August 15, 2023, www.lawrieshabibi.com

^[3] Rebecca Anne Proctor, “Mohamed Ahmed Ibrahim“

^[4] Alice Zucca, “Interview with Mohamed Ahmed Ibrahim / UAE Pavilion at the Venice Biennale.” Interview by Alice Zucca, in XIBT Contemporary Art Magazine, May 6, 2022, www.xibtmagazine.com 

^[5] Alice Zucca, “Interview with Mohamed Ahmed Ibrahim”

^[6] Alice Zucca, “Interview with Mohamed Ahmed Ibrahim”

^[7] Art Dubai, “Mohammed Ahmed Ibrahim,” Art Dubai, March 22, 2020, www.artdubai.ae. A car, for instance, he claims becomes two circles for the tires, a rectangle for the body, and lines to connect them.

^[8]Alice Zucca, “Interview with Mohamed Ahmed Ibrahim”

[9] Alice Zucca, “Interview with Mohamed Ahmed Ibrahim”

[10] Alice Zucca, “Interview with Mohamed Ahmed Ibrahim”