From the Emirates, the Sultanate of Oman, and Egypt .. Three plastic experiments met in the event of an “artistic station”, organized by the Culture and Science Symposium, the day before yesterday, remotely, in which the Emirati artist Dr. Karima El Shomali, the Egyptian artist Dr. Abdel Wahab Abdel Mohsen, and the Omani artist Maryam Al Zajjali.

These technical experiences are distinguished by the specificity of each of them, whose vocabulary springs from local environments to be influenced by global experiences, with a diversity of shapes, patterns and artistic mediums used, from painting to sculpture and installation.

Karima El-Shomali examined the formula and umbrella in which her artwork is produced, which is contemporary, describing herself as "curious" that she learns to this day from artists, and even from students she studies at the university, explaining that she "relies on the concept to present her works, and then after that she searches for the technology that The materials are presented in it, so you choose the medium, whether it is photography, color, performance or video. ”

The Emirati artist presented her work on the beginnings and how she was known with the composition, noting that she got her first knowledge of art through the courses at the Art Institute, as the Emirates did not have a college for art, pointing out that she felt that there are things of painting that do not give her space to express what is inside, so she presented In its beginnings, the installation work, which was titled "An Invisible Society", which was presented at the "Sharjah Biennial," and which carries vocabulary in the local community, considering that it was the rebellion on the plate that drove it to go through this experiment in composition.

Al-Shomali talked about her scientific studies, her love for the world of numbers, as she studied accounting, and after 15 years she studied art and retired from her work, and she had four children, she challenged herself to achieve dream and passion, and she traveled to London for a master’s and doctorate.

Arab identity

For its part, Maryam Al-Zadjali confirmed that she is always searching for the Omani and Arab identity or the eastern heritage, as she maintains this identity, in order to get to know through it the world that has become a small village, noting that experiences and knowledge of other cultures is important, but the most important is the distinction in identity and originality And, therefore, she always tries to search through formative work, pointing out that the administrative work may have taken it a little from the technical side, but creativity is the basis.

The Omani artist presented a set of her paintings, including the first work in the school, and other experiments, talking about the importance of experiences and the role of the studio in embracing creators and young people and honing their talents to present their products. She also exhibited paintings from her recent experience, which seemed to be affected by the real school in its beginnings and the surrounding environment, as it was transferred from the pictures and from the direct nature and the old houses, expressing its influence with Islamic miniatures, domes and arches, along with the heritage and the reformulation of heritage forms and vocabulary of jewelry and others.

Al-Zadjali expressed her influence with Gustav Klimt, with the exception of the figures he drew, and noted that the artist is influenced by the ocean and international experiences. She mentioned her experience in administrative work at the Arts Society since its foundation in 1993, noting that it was a great joy that allowed her to carry out experiences that she did not know previously, because the association polished the talent strongly.

Son of the countryside

As for Dr. Abdel Wahab Abdel Mohsen, he presented himself as the son of the countryside very affected by his surrounding environment, explaining that «his work depends on two orbits, firstly nature, and secondly academic study, as nature changes and is colored every day, and thus gives the person many of the values ​​that he needs in his creative experience ».

He stated that he practiced art in all media: sculpture, installation, video, art, drawing and graphics, as he lived in the north of the delta, and he had the opportunity to be a teacher for everyone who loves art in his studio in the countryside, describing the peasant's instinct as a distinct environment that enriched his works and life.

Abdel Mohsen also talked about symbols in his creations, including the Sufi experience that printed his works, describing the environment surrounding the artist as the first feeder of his ideas and visual language, pointing out that the environment to which he belongs - the peasants, folk heritage, customs and traditions - all influenced his imagination, because the old generation was closely related With the myths heard, the first source of entertainment was the tales that fueled the imagination.


The "technical station" session witnessed comments that touched on the principle of status and parties, whether in the same country or at the level of Arab countries.

The Chairman of the Board of Directors of the symposium on Culture and Science, Bilal Al-Badour, addressed this conflict of leadership between the official capital and the regions, especially among poets and writers, noting that in a period of time there was a center and parties between countries, because there was production in the center and consumption in the parties, but Today, this issue has become neutral, and it has broken the gap in cultural production and the issue of creativity.

Interventions were made about the possibility of the painting's disappearance, which was refuted by a group of artists, including Dr. Abdel Wahab Abdel Mohsen and Dr. Najat Makki.

Shomali cream:

“I got my first knowledge of art through courses.”

Maryam Al-Zadjali:

"I was influenced by Islamic miniatures, domes, and arches."

Abdel Wahab Abdel Mohsen:

The instinct of the peasants

A distinctive environment that enriched my life and my work.

Technical experiences are distinguished by their specificities, whose vocabulary springs from local environments to be influenced by global experiences.

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