The New Frontiers of Art on Screens

LG has taken notable strides in integrating art with technology. The Korean electronics giant sponsored Frieze art fairs, showcasing transparent OLED screens that featured pieces inspired by renowned Korean abstract ink master Suh Se Ok at Frieze Seoul 2024. Last year at Frieze London, LG presented works by Italian artist Quayola, demonstrating their commitment to fostering art through cutting-edge technology. Their 65-inch 4K smart TV, the Easel, is designed to resemble a traditional canvas leaning against a wall. The Gallery Mode feature allows users to view artworks seamlessly, transforming the television into an art display.

Samsung’s Frame TV series, designed to mimic wall-mounted artwork, has similarly made waves since the Samsung Art Store’s debut in 2017. With over 2,500 artworks from over 800 artists available, subscribers can enjoy pieces by masters like Botticelli and Da Vinci, modernists such as Salvador Dalí and Monet, and contemporary icons like Keith Haring and Jean-Michel Basquiat. Partnering with museums like The Metropolitan Museum of Art and the Musée d’Orsay, Samsung’s platform provides a unique opportunity to experience art from around the world. Recent additions include works from the Museum of Modern Art’s extensive collection.

Bringing Art to More People

Daria Greene, Global Curator of the Samsung Art Store, spoke about the transformative potential of digital platforms in broadening art access. She acknowledged that while some in the art world may hesitate to embrace digital displays, believing that art should be experienced in person, these platforms create new opportunities for global audiences. “Art and technology are closely linked, and together they can create greater exposure, new opportunities, and increased representation of diverse voices,” Greene said. Digital art platforms also enable viewers who may lack the resources to visit galleries in person to enjoy works from prestigious institutions.

Greene highlighted the evolving relationship between traditional art and digital formats. Artists like Shinique Smith are already creating works specifically designed for digital viewing, blurring the lines between the medium and the message. The shift towards digital does not mean physical museums will become obsolete, but rather that new methods enrich the way art is shared and experienced.

Innovations in Screen Technology

Samsung’s 2024 edition of The Frame TV is particularly noteworthy, having earned the Validated ArtfulColor certification from Pantone. This accolade underscores the TV’s advanced color reproduction technology, ensuring that colors appear as true-to-life as possible under standard lighting conditions. The certification highlights Samsung’s commitment to creating an artistic experience that closely mirrors the visual experience of observing physical artworks.

Future Prospects for Artists and Viewers

When asked about potential future plans for artists to showcase their work on the Samsung Art Store, Greene noted that while no such plans are available at the moment, the platform operates on a revenue-sharing model that supports participating artists. This ensures that artists benefit from their work being seen on a global scale.

Greene also spoke about the growing potential for artists exhibiting at fairs and galleries to leverage digital platforms. “We see a significant opportunity to collaborate with artists actively exhibiting their work at fairs and conferences,” she explained. The expansion of the digital art market and its ability to bridge the gap between the physical and digital worlds opens up new possibilities for art appreciation worldwide.

Art Consumption Like Never Before

The idea of an “art chart” akin to music streaming services such as Spotify is intriguing, and Greene touched on this concept by mentioning how the Art Store curates seasonal and culturally relevant collections. “We develop seasonal palettes, color trends, and culturally significant collections,” Greene said, adding that these curated selections have become some of the most popular among subscribers. For instance, this summer featured vibrant beach scenes, pieces from The Met, and works celebrating Hispanic artists. As the holiday season approaches, Samsung plans to unveil more timely collections that resonate with viewers.

The combination of high-quality screen technology and the integration of art curation on smart TVs are creating a new dialogue around how art can be consumed. This growing innovation could make art more accessible and engaging than ever before, promising to reshape the way we interact with and appreciate visual art.

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The exhibition is part of a broader initiative by Arts AlUla to promote the ancient oasis city as a rising art and creativity hub. Known historically for trade and cultural significance, AlUla is home to Hegra, Saudi Arabia’s first UNESCO World Heritage site, and boasts a storied connection to the Incense Road.

“Orbis Tertius” brings this heritage into focus, presenting diverse mediums that reflect the region’s pre-Islamic heritage and its current creative renaissance.

Artists created their works within the residency’s inspiring settings, including Mabiti AlUla’s palm groves and AlJadidah’s new residence facilities. Morand highlighted the theme “Orbis Tertius, A Journey Between Fictions and Myths” as a response to the area’s evocative mix of legend and reality, aiming to provoke a “dynamic dialogue” among artists, local experts, and residents.

Notable exhibits include Monira Al-Qadiri’s striking aluminum sculpture “The Guardian,” based on the resilient Calotropis Procera plant native to the region. Meanwhile, multidisciplinary artist Anhar Salem’s “A Day in AlUla” showcases local lives, balancing personal narratives with broader cultural reflections. The Gazzaz brothers, co-founders of Bricklab, introduced sustainable construction methods in rammed earth, blending regional materials with AlUla’s layered history. Works by artists like Ayman Zedani and Reem Al-Nasser continue this thoughtful engagement with the area’s natural and anthropological heritage.

The exhibit reinforces AlUla’s role as a bridge for cultural exchange, supporting the vision to create a sustainable, globally recognized creative center. “We are showcasing the extraordinary artistic vision flourishing in AlUla,” said Nora Aldabal, RCU’s executive director, “a place where ancient history meets contemporary art.”

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“I would find Arabic ones but they were expensive or the designs would be super cliché,” said Raghad. “So, that was the starting point, and because stickers are also the easiest form of artwork – it’s very simple.”

Thus, Waggish was created, a venture initiated by Raghad and three friends. Four years later, the growth of this small, homegrown business—fuelled by passion, pop culture, and the strength of female camaraderie—has been a remarkable success.

I first crossed paths with Raghad in January 2023. Since then, her friends have embarked on their own journeys, but Raghad remains steadfast in her mission to harness the full potential of her creative and commercial endeavours.

What does that evolution entail?

“The first two years were just really like building a library of designs and then we would produce them on everything – so, shirts and totes and mugs,” explains Raghad. “Now I’ve decided to take Waggish to its full potential by not just doing the stickers but do more original products, more collaborations with other brands.”

Raghad’s vibrant creations, characterized by bright colours, bold lines, and catchy slogans, stem from her artistic flair for digital design. Each original print is meticulously crafted by hand, featuring witty Arabic and English phrases that resonate with today’s internet culture. It’s a delightful way to celebrate life or make a statement, drawing people in.

In its ongoing transformation, Waggish has evolved beyond a simple sticker shop to a comprehensive creative brand. With its distinctive illustration style, it infuses everyday life with flair, finesse, and an abundance of personality.

“When Subway reached out, I was in complete shock,” recalls Raghad, reflecting on her favourite collaborations. “Now it’s an international brand that is collaborating with Waggish – that one was the biggest one when it came. After that, it was Rimmel London. TikTok Business was really big too and Shahid from MBC.”

For Raghad, stickers are more than just decorative items; they represent personal expression. They can visually convey strong opinions on various subjects, which is why Waggish embraces this aspect wholeheartedly.

“Stickers, at their essence, are a visual expression of who you are. The way that you put stickers on your laptop or your iPad, they tell stories about your hobbies, what you stand for, stuff you like.”

“I think because Waggish was born in the UAE, has all those Middle Eastern people following it and it’s like an Arab brand, we need to have a voice to share and promote that. It’s not like a political approach, but more like an awareness approach, more of like lets open this conversation – it doesn’t have to be scary to talk about those things.”

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Developed in partnership with global digital consultancy Monstarlab, the Digital Creative Economy 2024 white paper by d3 and Dubai Media City compiles feedback from engagements with more than 20 leaders and a survey of 400 UAE- and internationally-based design and media professionals to provide a holistic overview of growth opportunities in the global digital creative economy.

The white paper’s launch comes as Dubai reaffirms its position as the global capital of the creative economy, ranking first on the Foreign Direct Investment (FDI) Index for project inflows and job opportunities in the cultural and creative industries in 2023, according to the fDi Markets report by the Financial Times. 

The global digital creative economy is expected to note compounding growth of 11% each year to reach a valuation of AED 27 trillion by 2030, according to an innovative market sizing model built by Monstarlab that reflects the average combined sizes of the global design and media markets as well as verticals defined by global and UAE standards, including books, audio-visual media, culture and heritage, visual arts, fashion, and product design. 

The white paper’s findings come at a pivotal time for creative industries as the advent of generative AI breaks new ground in production processes to transform existing business models. Developed by d3 and Dubai Media City, two of TECOM Group’s 10 sector-specific business districts across Dubai, the paper explores how the accelerated trajectory of emerging technologies is influencing skills and services ranging from fashion design and architecture through to visual arts, advertising, and events. 

“There has been a seismic shift in how content is produced, distributed, and monetised over the past decade, and the rapid pace of this convergence demands tomorrow’s talent is armed with the necessary skills and training to unlock its full potential,” said Majed Al Suwaidi, Senior Vice President of Dubai Media City, at TECOM Group. 

“AI, Web3, and virtual reality are swiftly pushing the horizon of what’s possible for the future of media, but this tech-driven landscape demands a deep, holistic understanding of the implications of these new tools. Strategic support, be it through Dubai Economic Agenda ‘D33’ or Dubai Media’s vision to champion homegrown content creation, is crucial to nurturing such innovation-led creativity, and Dubai Media City is committed to enhancing the local media sector’s value chain by contributing to these programmes. It’s an exciting era for content creators as technology redefines every facet of our lives, and our white paper provides a blueprint for a new breed of creative innovators to chart their future success.”

“The creative industries are an undeniable springboard for economic growth,” said Khadija Al Bastaki, Senior Vice President of Dubai Design District (d3), at TECOM Group. “Strategic support in our city, too, is geared towards helping to unlock the potential of the creative sector. This is apparent in the Dubai Creative Economy Strategy, which aims to raise the GDP contribution of creative industries to 5% by next year.

“Strategic initiatives, targeted development and pro-business policies, and a diverse, multicultural population are cultivating an outstanding global creative community, which has been instrumental to Dubai’s status as a UNESCO City of Design and driving FDI in the creative sector. To build upon Dubai’s flourishing contribution to the global design sector, we must continue to look forward and prepare for the next priorities courageously, collaboratively, and innovatively. This white paper demonstrates our deep commitment at d3 to championing this vital conversation and ensuring an even stronger future that is informed, favourable and progressive for all our creative stakeholders.” 

As global creative talent taps into the transformative potential of generative AI to automate, optimise, or innovate its work, the white paper explores how the trend is helping the ‘creator economy’ reshape content generation and enabling customer-centricity in commercial applications. More than 42% of design and 46% of media professionals surveyed for the white paper expect advanced emerging technologies and the adoption of AI solutions to impact their field of expertise in the coming years. 

The study also explores the UAE’s role as a contributor to the global creative industry, particularly as the fastest mover within the GCC to grow and digitise its creative economy. The majority of design (83%) and media (77%) of professionals surveyed for the white paper agree Dubai and the UAE provide well-developed infrastructure to enable creative excellence.

Benchmarking Dubai against global design capitals like Milan and London as well as media centres such as Manchester and Los Angeles, d3’s and Dubai Media City’s white paper finds Dubai has established itself as a global player through key levers nurturing the digital creative economy, including talent, government support, innovation, and infrastructure. 

Events like Dubai Fashion Week, co-founded in February 2023 by d3 and the Arab Fashion Council, have firmly established the city’s position on the global creativity landscape. Strategic visions like Dubai Economic Agenda ‘D33’, Dubai Creative Economy Strategy, and Dubai’s Universal Blueprint for AI (DUB.AI) – as well as the establishment of the Virtual Assets Regulatory Authority, the first of its kind in the GCC – are accelerating the integration of AI across all facets of Dubai’s diversified economy. 

Furthermore, initiatives like ‘We the UAE 2031’ and the UAE Cabinet’s decision to implement a CEO for AI across ministries and federal entities are fostering an environment conducive to developing and strengthening the local value chain for future-focused creativity. 

Click here to download your copy of the Digital Creative Economy 2024 white paper presented by Dubai Design District (d3) and Dubai Media City. 

The white paper’s launch follows the announcement of an expansion plan for d3, which enhances the creative economy by elevating local, regional, and international designers, creating synergies between global ecosystems to inspire, connect, and grow creatives at all stages of their journey with a dedicated industry ecosystem that features flexible offices, coworking spaces, in5 Design – the dedicated industry vertical of TECOM Group’s start-up incubator in5 – and a packed calendar that turns d3 from an address for businesses to a living, breathing ecosystem. 

In August 2024, TECOM Group commenced the development of six Grade-A office buildings within Phase 2 of d3 as the destination remains a sought-after address for customers across the design, fashion, and creative sectors, including Chopard, Zaha Hadid Architects, Chalhoub Group, and Burberry.

Its sister destination Dubai Media City is the cradle of the UAE and the region’s creative economy and provides a platform for high-quality media and content production as the regional address of industry giants like CNN, Thomson Reuters and OSN. Alongside Dubai Production City, which is home to in5 Media – TECOM Group’s dedicated vertical for the media industry under the in5 umbrella – and Dubai Studio City, the destination creates an integrated media ecosystem that is home to more than 3,500 customers and over 38,000 creative professionals.

Dubai Design District (d3) and Dubai Media City are among TECOM Group’s portfolio of 10 business districts, including Dubai Internet City, Dubai Production City, Dubai Studio City, Dubai Knowledge Park, Dubai International Academic City, Dubai Industrial City, and Dubai Science Park.

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Dubai Culture and Arts Authority (Dubai Culture) plays a pivotal role in enhancing cultural tourism across the emirate, offering visitors immersive experiences that invite them to explore the city’s museums, historic sites, and heritage landmarks. With a portfolio that includes five museums, five heritage sites, and 17 archaeological sites, Dubai Culture showcases the city’s rich history and cultural essence. Among these, Al Shindagha Museum, the UAE’s largest open-air heritage museum, stands out as a ‘hidden gem,’ offering unique cultural pathways that highlight the authenticity of local traditions. 

Etihad Museum captivates visitors with its unique concept, narrating the story of the UAE’s formation and development. Through a carefully curated chronological timeline, it traces the pivotal events that led to the union, particularly between 1968 and 1974. The museum’s exhibits and educational programmes also shed light on the visionary efforts of the UAE’s founding fathers. In contrast, the Al Fahidi Historical Neighbourhood remains one of Dubai’s most beloved tourist destinations, where visitors can step back in time and experience the traditional way of life that prevailed from the mid-19th century to the 1970s. Its narrow alleyways and historic houses reflect Dubai’s rich artistic and creative identity, deeply rooted in its cultural heritage.

Hatta, recognised by Condé Nast Traveler as one of the most beautiful 50 small cities in the world for the year 2023, is home to Hatta Heritage Village, a bridge between the past and present, showcasing traditional architecture distinctive to the area and offering its visitors the opportunity to explore the region’s natural history and heritage, and celebrate the rich heritage, customs, and traditions of Hatta.

Dubai’s wealth of archaeological sites offers visitors a captivating journey through its ancient history, stretching back over 300,000 years, from the Stone Age to the late Islamic periods of the 19^th century. Among the most significant discoveries is Saruq al-Hadid, discovered in 2002 by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai. This site is one of the richest archaeological treasures in the southeastern Arabian Peninsula, with its artifacts now displayed at the Saruq al-Hadid Museum in Al Shindagha Historic Neighbourhood. Similarly, the Jumeirah Archaeological Site, dating from the Islamic era (900–1800 AD), reflects the historical significance of the Jumeirah region during the Abbasid Caliphate.

Commenting on the importance of cultural tourism, Muna Faisal Al Gurg, CEO of the Culture & Heritage Sector at Dubai Culture, affirmed its vital role in diversifying Dubai’s economy, stating: “Dubai’s cultural diversity, blending modernity with tradition, and its vast array of artistic and creative events enhance the strength of its tourism and reflect the city’s vibrant identity. At Dubai Culture, we are committed to enhancing cultural tourism in the emirate tourism through various projects and initiatives aligned with our cultural responsibility of safeguarding our tangible and intangible heritage. Through our diverse programmes and events, we aim to offer tourists unique experiences that combine culture, heritage, art, and innovation. According to Dubai’s Department of Economy and Tourism, Dubai’s cultural offerings have contributed to a 10% year-on-year increase in cultural tourism, showcasing our efforts in boosting the tourism sector’s contribution to Dubai’s GDP and solidify its position as a preferred destination for living, working, and entertainment.”

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The 18th edition of this bi-annual event invites artists from across the region and around the world to participate and transform MEASA’s leading financial district into a captivating canvas of creativity just in time for DIFC’s 20^th anniversary celebrations. 

DIFC Art Nights will showcase a diverse range of artistic expressions, including visual arts, painting, sculpture, photography, design, murals, interactive workshops, panel talks, and music. This immersive experience will captivate art enthusiasts and the public alike, offering a unique opportunity to engage with established and emerging talents for an extended period of time. 

To participate in DIFC Art Night artists are invited to submit a portfolio of their best work to artnights@difc.ae, including high-quality images, a brief profile, and relevant details about each piece. Each entry will be reviewed by DIFC and the most outstanding artistic submissions will be selected for display. 

Categories include, but are not limited to, visual arts, painting, sculpture, photography, design, murals, mixed media, interactive workshops, and music. All submissions must adhere to the DIFC guidelines, available for download on the DIFC website.

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Mestaria Gallery is proud to present the latest exhibition by renowned Bahraini artist Areej Rajab, titled “Interwoven,” running from 17th October to 10th November 2024. The exhibition invites viewers to experience an artistic and therapeutic play of colours and emotions where the intricate patterns of human behaviour are delicately overlapped with the rhythms of nature.

Born and raised in Bahrain, Areej Rajab was drawn into the world of art from a young age. While her academic path initially led her to study business and general management at the University of Bahrain. Her passion for art eventually steered her to the London College of Art, where her creative talents fully flourished. Areej’s work has since resonated with collectors and enthusiasts across the Middle East and the UK, where she has exhibited extensively. 

Interwoven lies in Areej’s expression of the deep connection between nature and human behaviour. Through her artwork, she reveals the intricate beauty of natural forms and how they mirror the complexities of human emotions. By layering colours, Areej symbolically reflects how human emotions and experiences intertwine, much like patterns in nature, echoing the masterfully harmonious designs found in nature. As she explains, “I find inspiration in nature as it is the purest source of colour. My focus is on colour combinations and how they blend and overlap rather than just colour itself, much like how human behaviour and emotions often intertwine and influence one another. Different cultures can interpret colour in various ways, which adds another layer of meaning to my work”. Her paintings, with their fluid layers of paint, brushstrokes, and intentional lines, evoke a sense of movement and freedom, reflecting the rhythms and patterns found in both nature and human emotions.

Unlike artists who capture and document present moments to reflect current experiences and complexities they navigate, Areej’s paintings reflect a place where she aspires to be — expressing an optimistic and hopeful vision of the world. Through her translation of nature, she shifts perspectives to convey joy and optimism, using a carefully chosen colour palette, weaving a spectrum of colours, with each hue and shade meticulously chosen to inspire specific emotions and moods. She leaves her paintings untitled, believing that each viewer should have the freedom to interpret and connect with the artwork in their own way. 

This exhibition at Mestaria Gallery invites guests to become part of an emotional moment, where each encounter creates a unique connection, “interwoven” between individual and canvas, leaving a lasting impression on Dubai’s art scene. Don’t miss being an added story to those brushstrokes of beauty.

Exhibition details:

Exhibition: Interwoven by Areej Rajab 

Dates: Thursday 17^th October to Sunday 10^th November 2024 

Location: Mestaria Gallery Alserkal Avenue, Dubai

Timings: Open daily from 10am-7pmFor more information please visit: www.mestaria.art

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Mortimer, who has lived in the region for several years, incorporates local motifs such as coffee pots, falcons, and the Sharbatly fruit label into his art. “I love to explore the popular culture of a place,” Mortimer said. “You immediately see these interesting images, logos, and adverts. I love the visuals and the aesthetics, and I often don’t understand what they mean, especially when the labels are in Arabic.” Mortimer, who doesn’t speak Arabic, often uses Google Translate to grasp the meanings of the words he incorporates, appreciating the forms and beauty of Arabic letters.

Mortimer’s recent works are part of an exhibition titled The Limits of My Language Are the Limits of My World at the Media Majlis Museum in Doha.

This exhibition, which runs until December 5, explores the historical and contemporary significance of the Arabic language. It invites viewers to reflect on Arabic’s influence and question its place in the future. Mortimer’s pieces contribute to this dialogue, offering insights from the perspective of a non-Arabic speaker engaging with the cultural and linguistic nuances of the region.

Having previously been an artist-in-residence at the Fire Station in Doha, Mortimer is no stranger to the Middle East. His career has taken him from the UK to various countries, including the Philippines, Greece, and Spain. He has exhibited in several international venues, gaining recognition for his ability to combine traditional and modern media in his art.

Mortimer’s creative process involves layering both literal and metaphorical elements, using a blend of oil paint, acrylic, spray paint, and stencils. His work juxtaposes traditional techniques with modern methods, challenging the boundaries between high and low art.

Beyond his artistic practice, Mortimer also teaches art at a high school in Riyadh, drawing inspiration from his students. “They tell me about the cartoons and the sports they watch, and introduce me to popular culture in Saudi and discuss the changes taking place in the Kingdom,” he said. “I’ve learned so much through them.”

The Doha exhibition tackles four main themes: the complexities of Arabic, its global influence, its portrayal in the media, and its future in a world dominated by English. Mortimer’s works engage with these topics, reflecting his experiences in Saudi Arabia and Qatar, and inviting viewers to consider the role of language in shaping identity and culture.

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In a statement, Ithra highlighted the camel’s enduring significance in Arabian Peninsula societies, including Saudi Arabia, where it served as a vital means of transportation across diverse terrains, akin to the role of ships navigating the seas.

At the exhibition’s opening, Prince Faissal bin Abdullah bin Mohammed, founder of the Layan Cultural Foundation, delivered a poignant keynote speech emphasizing the camel’s role in the Kingdom’s cultural heritage as a symbol of strength and endurance.

Prince Faissal bin Abdullah at the opening of ‘The Camel Through the Ages.’ (Supplied)

Ghada Al-Tobaishi, the executive director of the LCF, remarked, “We are very pleased to cooperate with Ithra (on this) exhibition. This academic and cultural project aims to enrich the knowledge of many important facts of cultural heritage of past eras.”

The exhibition draws inspiration from a two-volume Arabic-language book on camels published by the LCF last year in collaboration with the King Abdulaziz Public Library.

Some pieces in the exhibition were specially commissioned, while others were derived from the book. The exhibition is curated by Kumail Muhammed Almusaly, with contributions from Maryam Al-Dossary.

“We, at Ithra, reached out to Layan Cultural Foundation to collaborate on an exhibit specifically for the Year of the Camel,” Almusaly told Arab News. “And it fits very well with the intent of this gallery, which focuses on the history of Saudi Arabia.”

Digital mosaics created at the Layan Cultural Foundation for ‘The Camel Through the Ages.’ (Supplied)

Almusaly elaborated, “We came up with five themes in order to create a journey in which the visitor could flow freely between the artworks — it is not a linear journey.”

The exhibition explores five themes: the camel as an emblem of Arabian identity; the camel as a spiritual or meditative symbol, particularly through Qur’anic verses; the camel’s role in camel racing and family life; its place in oral or folk history; and the camel as a companion during rest and travel.

Upon entering the exhibit, visitors are greeted by a series of paintings, including a notable 2013 piece by Saudi artist Abdulrahman Al-Soliman titled “The Camel is not a Ship.”

“This is a statement by a pioneering artist,” Almusaly noted. “(It’s) a piece that ‘corrects’ our perception toward camels. He is using text over the painting, which states that the camel is ‘not the ship of the desert.’ He wants to convert that perception back to the reality that the camel is a creature — it is not an object.”

The exhibition also features digital mosaics from the LCF, along with artworks by both international and local artists. “There is a part where we switch to how Western artists have looked at Eastern culture — how they are examining the camel and Arabic culture from their perspective,” Almusaly explained.

Following the paintings, the exhibit showcases sculptures, photographs, historical coins, and traditional garments, with many pieces incorporating Arabic calligraphy.

According to Almusaly, the LCF has played a crucial role in “maintaining culture, maintaining history and preserving culture through these materials,” by bringing in experts to examine each object and enhance our understanding of the camel.

The exhibition offers a chance to view the camel through various artistic lenses, reflecting Saudi identity and underscoring the camel’s vital role in the Kingdom’s cultural and economic evolution.

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Promod, an Indian expatriate who passed away two years ago, and a group of friends, initially came together in Satwa. These individuals, despite their commercial careers, shared a profound passion for art, which they had to set aside due to practical demands.

Vineeth, the guild’s secretary, explained: “The group has now expanded to include around 25 artists, each with a significant connection to art. Whether they are celebrated artists or enthusiastic amateurs, they unite through this Guild to pursue their artistic passions.”

Under the guidance of distinguished artists like K.K.N. Nambiar, Vineeth has participated in numerous group exhibitions, specializing in oil on canvas and continually evolving his personal style.

“Many of us had to shelve our artistic inclinations in favor of commercial careers. To reconnect with our creativity, we organized regular meetups on Fridays or other free days to paint and promote art,” Vineeth added.

Since its inception, the Guild has been active in hosting painting exhibitions, workshops, and discussions across Dubai and Sharjah. These events offer artists a platform to display and sell their work.

Key figures in the Guild include Kumar Chadayamangalam (current president), Uday Russelpuram, Ramesh Vellinezhi, Shafi Beypore, Narayan Kadavath, art director Nisar Ibrahim, and Sadasivan Ambalamedu. These members balance their professional lives with their artistic pursuits, ensuring they dedicate time to their passion.

The Guild conducts workshops in community parks to bridge the gap between artists and the public. “Our workshops aim to clarify fundamental questions about art, such as the nature of abstract art, making it more accessible to everyone,” Vineeth explained.

Their latest initiative involved a workshop with underprivileged children, where they created a unique art installation and shared inspiring stories of artists.

The Guild also supports its members and the community in challenging times. Following the Kerala floods, they organized a fundraiser, creating and selling art to contribute to relief efforts.

The Guild’s members hold a shared belief that art transcends barriers, offering a universal connection and understanding that few other things can.

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