Reviving Rammed Earth Architecture

The Desert Relics Installation revives the ancient technique of rammed earth construction, where sand, clay, and water are hand-compressed into durable, sedimentary forms. Drawing on the archaeological heritage of Mleiha, a UNESCO World Heritage Site, the installation’s twelve modular sculptures mimic the shapes of ancient vessel vases, stones, and even a grand necklace. These forms, inspired by the crafts of early civilizations, showcase pigments and textures that seamlessly blend with the desert landscape.

Desert Relics: A Tribute to the Past

Karim + Elias have consistently explored vernacular architectural techniques on a monumental scale, and this latest creation is no exception. The installation reflects the duo’s dedication to connecting art to its natural surroundings while promoting sustainable and locally-rooted craftsmanship. Their previous works, such as From This Earth in Saudi Arabia and IOTA at Dubai Design Week, echo similar ecological and cultural themes.

The Desert Relics Installation offers visitors a unique opportunity to engage with the UAE’s past, presenting a modern interpretation of its enduring cultural and environmental legacy.

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The art piece, crafted entirely from type 1, 2, and 5 recyclable plastics, will feature objects sourced by Mather throughout Atlanta and contributions from ALPLA employees. Beginning on June 1, Mather will work on-site at Colony Square, allowing the public to witness the transformation of discarded plastics into a stunning visual masterpiece, effectively demonstrating the principles of a circular economy.

ALPLA’s public art initiative is an extension of its sustainability campaign, Plastic Reimagined. This initiative seeks to educate consumers on reducing plastic pollution and fostering a cleaner, more sustainable world. Throughout the installation process, ALPLA will share updates on Instagram (@plasticreimagined) and X (@reimagineplast), inviting the community to engage with the project in person and online.

“Ensuring the protection of our planet and its natural resources is a shared responsibility, and a straightforward way to contribute is by recycling our plastics when possible,” stated Billy Rice, Sustainability Manager at ALPLA. “As a company that uses and processes recycled plastics, ALPLA knows the transformative power of the circular economy. We’re eager to see this transformation brought to life by Hyland Mather as he turns everyday plastics into a visual piece that educates and inspires.”

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Conceived by Lithuanian artist Benediktas Gylys, “The Portal” was unveiled with much anticipation. It offers viewers the opportunity to engage with individuals from over 3000 miles away in Dublin. While this technological innovation is impressive, it refers to similar endeavours, such as British artist Paul St. George’s Telectroscope, which linked New York City with London through a visual communication device.

According to Gylys and officials from New York City and Dublin, “The Portal” symbolizes the power of art to transcend physical barriers, inviting individuals to connect across borders and cultures. Gylys emphasized the project’s role in fostering global interconnectedness, providing a platform for people to meet beyond their social circles and embrace the beauty of unity.

Dublin’s Lord Mayor, Daithi de Roiste, echoed this sentiment, highlighting the significance of the partnership as Dublin celebrates its designation as the European Capital of Smart Tourism 2024. Emphasizing Dublin’s commitment to connectivity, Mayor de Roiste underscored the project’s role in strengthening ties between cities with deep historical and cultural bonds.

The project, which commenced on May 8 and will continue through fall 2024, has generated excitement on both sides of the Atlantic. Ya-Ting Liu, Chief Public Realm Officer of New York City, expressed enthusiasm for the initiative, emphasizing the rare opportunity for two global cities to connect in real time and space. Liu praised “The Portal” as a public interactive art installation that showcases the vibrancy of city streets and fosters human connection between New Yorkers and Dubliners.

The collaboration behind “The Portal” reflects a fusion of technology and engineering, exemplifying the potential of art to bring communities together in meaningful ways. As viewers engage with this immersive experience, they are reminded of the boundless possibilities that emerge when creativity and innovation intersect.

“The Portal” stands as a testament to the transformative power of art to transcend boundaries, spark dialogue, and cultivate a sense of shared humanity. As visitors interact with this unique installation, they are invited to explore the intersection of art, technology, and connection, forging new pathways of understanding and appreciation across continents.

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While it remains unclear whether the building’s management sanctioned the installation, Cole reveals that he and his friends ventured out in the middle of the night, dropped the sculpture on the balcony using a crane, and faced trespassing charges from the city. However, they managed to complete the installation and even celebrated at the Byline release party. The apartment management released a statement expressing their acceptance of the artwork, suggesting it may have found a new home.

At only 23 years old, Cole is known for his trademark Creatures, which are doodled, simple, round-faced humanoids representing his artistic practice. He has animated them for a Coachella concert at the age of 16, turned them into successful NFTs endorsed by internet entrepreneur Gary Vee, and used them as mascots for his fashion line. Cole’s charismatic brand has evolved into a social scene and art phenomenon.

The sculpture that Cole placed near the High Line was originally created for the launch of his “Creature World” fashion brand during New York Fashion Week. The 12-foot tall yellow Creature was intended to be destroyed, but Cole decided to extend its lifespan. He used the foam sculpture as a cast, covered it in a hard shell, and poured steel into it, resulting in a one-ton sculpture he named The Creature. Public art like The Creature, which appears to be unauthorized, blurs the line between gift and bold self-promotion. Throughout art history, renowned artists such as Keith Haring, KAWS, and Banksy began by showcasing their work on the streets, capturing public interest before entering galleries.

Cole’s perspective on street art became more romantic after a conversation with graffiti artists a few years ago. Witnessing them scaling the towers of the Williamsburg Bridge to create their tags, Cole learned that it was more than just art or vandalism—it was a symbolic act of going where others believed they couldn’t.

In 2021, Cole and his friends painted a cow on the “O” of the Hollywood sign, not for promotion or politics but to create something enjoyable amidst challenging times. The police pursued them, eventually leading to their arrest. Despite the consequences, Cole’s friend asked when they would do it again.

Returning to the High Line the day after installing The Creature, Cole observed people’s reactions to the artwork.

“I just watched and listened as hundreds of people stopped and had this moment with the people around them that wouldn’t have otherwise happened,” said Cole, beaming with pride. “That was the point: the surprise, the joy, the ability to escape the craziness of surviving in New York, just to have a moment to like stop and smile and just be like, ‘What the fuck is this?'”

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Residents of the neighbourhood were encouraged to inscribe messages and stories on the slats, emphasizing the need for clean energy. However, Chevron spokesperson Ross Allen defended the removal, stating, “Our fences and other company facilities are functional equipment and we cannot allow tampering or unauthorized construction.”

The organizers of the art project, on the other hand, argue that the sections of the fence they utilized are owned by the city and that they had received permission from various local authorities to install the work. They contend that the removal was an attempt to silence their voices and erase their stories.

Interestingly, the artwork was part of an exhibition at the Richmond Art Center, running from April 5 to June 3. Despite its temporary nature, Chevron deemed the installation unacceptable on its private property. Allen stated, “Perhaps someone is mistaken about ownership of our fence and our property line, but we are quite clear about ownership of the area.”

Environmental organizations have long criticized Chevron’s Richmond refinery for its detrimental impact on the local community. Earth Justice, a nonprofit environmental law organization, described the refinery as a source of havoc for decades, highlighting its status as the largest emitter of greenhouse gases in the state. The surrounding neighbourhood primarily consists of people of colour who have experienced disproportionately high rates of cardiovascular disease and cancer.

In 2018, the city of Richmond filed a lawsuit against Chevron, alleging public nuisance and negligence. The suit came after reports emerged that the city’s children had asthma rates twice the national average, emphasizing the detrimental impact of the refinery on the health of the community.

One of the organizers of the art installation, Graham Laird Prentice, expressed disappointment and confusion over Chevron’s actions, stating, “We think it’s pretty weird that they disappeared the project without any kind of communication with us.” Prentice noted that the removal took place overnight, describing it as “pretty shady stuff.”

The removal of the artwork has sparked outrage among activists and members of the community who believe it is indicative of Chevron’s disregard for the environment and the voices of those affected by its operations. As the controversy unfolds, it serves as a reminder of the ongoing struggle between corporate interests and environmental activism, highlighting the need for increased accountability and a shift towards cleaner energy sources.

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Bond Truluv’s artistry is characterized by his mastery of calligraphy and his constant reinvention of the letters that make up his distinctive moniker. With precision and skill, he crafts visually captivating graffiti pieces that blend seamlessly into their surroundings, elevating them from mere wall art to immersive installations. What sets his work apart is the deliberate use of light effects, which adds depth and dimensionality to his creations, resulting in an awe-inspiring visual experience.

His artistic journey has allowed him to transcend borders, and his works can be found gracing walls in various cities and landscapes around the world. From vibrant urban environments to serene natural settings, Bond Truluv’s graffiti art brings life and vibrancy to every location it touches. His ability to seamlessly integrate his pieces into their surroundings showcases his deep understanding of the interaction between art and its environment.

Bond Truluv’s impact extends beyond the realm of graffiti art, as his work serves as a bridge between cultures and communities. Through his art, he creates a visual language that transcends linguistic barriers, connecting people from diverse backgrounds through a shared appreciation for his captivating creations. His ability to bring together various artistic elements in a harmonious and visually striking manner has solidified his status as a globally recognized artist.

In the world of graffiti art, Bond Truluv has carved a unique niche for himself, captivating audiences with his reinvention of letters and his skillful manipulation of light and space. His ability to transform walls into immersive experiences demonstrates his artistic vision and dedication to pushing the boundaries of traditional graffiti. With each new creation, Bond Truluv continues to inspire and leave an indelible mark on the global street art scene.

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The Ghanaian artist’s debut UAE solo exhibition is taking place at the Lawrie Shabibi gallery on Alserkal Avenue. The exhibition, The Soil From Which We Came, is on display until February 17 and consists of enormous paintings that are collage-like collections of various images. The pieces emphasize modern black identity and culture while also being conscious of how interconnected the world is. According to the National, backdrops for people models with features that appear to have been lifted from commercials and other media include collages of thorny bushes, blooming flowers, and vegetables. The pieces initially appear to be nothing more than pieces of collaged fashion magazine photos.

But as spectators get closer, Amponsah’s technical skill as a painter emerges. His method involves carefully constructing the compositions from smaller collages, which are then digitally altered, made larger, and painted on canvas. Amponsah has degrees in painting from the Kwame Nkrumah University of Science and Technology in Ghana, Jiangsu University in China, and the Royal College of Art in London. Hein Ghana’s Kuenyehia Art Trust for Contemporary Art as a Trustee at the moment.

Through a potpourri of many types of vegetation, Amponsah’s painting captures the lushness of these imagined locations. Jagged forms of food, fruit, and radiant blossoms are arranged. Purples, yellows, pinks, oranges, and reds are sliced and combined in visually arresting ways that try to defy conventional painting conventions.

“When I was doing my masters [in the Royal College of Art], I was interested in pushing my practice to a point where I could be proud of it,” Amponsah says. “I wanted to see my practice create a space in the history of painting, which required me to go on a journey of experiments and excavations. I experimented with collage in lots of forms. As a trained painter, you miss a lot,” he continues.

“There are established guidelines for the proper application of colors. There are colors that work well together, those that don’t, and complementary and analogous hues. It’s different in the marketplace, and I found that to be interesting as well.”

However, Amposah discovered a conspicuous paucity of black representation when he started poring through the publications in search of pictures he could composite. Given that he wanted his art to reflect black culture, identity, politics, and history, this presented a challenge in terms of creativity.

Amponsah started scanning and reversing the colors of discarded magazine images using digital technology. “I would flip it if they were white people,” he declares. “The straightforward act of doing it helped me a lot.” Amponsah initially started making miniature collages because she couldn’t get to a studio because of the lockdown. He didn’t know why, but the main goal was to produce thousands of them.

Models are seen posing like they would in a fashion magazine in the enormous paintings that developed from the sketches. Others have a jacket thrown over one shoulder, while some hold purses to their chests. Some seem kind, while others mysteriously peek out from beneath lowered caps. The faces of these models are the culmination of numerous ripped features. Amponsah said he spent a lot of time positioning the faces to evoke the feelings he was going for.

A sculpture that shares a similar theme with Amponsah’s paintings is located somewhat outside the centre of the exhibition space. In an installation, a human figure with a collaged face protrudes from a bouquet of flowers, bringing the artist’s universe out of the flat canvas and into the realm of three dimensions.

Dozens of little square canvases are set in a tile-like pattern on one wall of the exhibition room. The project, which Amponsah started “long ago,” also includes faces, but these are based on people he met and photographed in barbershops in London, before giving their portraits his eccentric collage treatment — this time with actual printed photographs. This is in contrast to the models that the artist created as a result of “sampling” magazines and fashion imagery.

A snow globe is perched atop a column in the second of three paintings. Amponsah’s snow globe has a harsh truth even if it frequently conjures up idyllic places. A white police officer raises his gun towards a black man who is waving his hands in the air.

The hourglass can be seen in the final painting and its column. He claims that the hourglass is time itself. “Time is really the only thing you need in life. You can think more clearly if you are patient. It’s a time for contemplation. Up through February 17th, The Soil From Which We Came is on display at Lawrie Shabibi gallery.

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Forever Is Now II showcases contemporary art installations by a dozen international artists from eleven countries, including Emirati conceptual artist Zeinab Al Hashemi, Saudi artist Mohammed Al Faraj, international award-winning French-Tunisian eL Seed, accomplished Egyptian sculptor Ahmed Karaly, JR, the internationally acclaimed French street artist best known for his epic art installations, Spanish artist SpY, famous for transforming public spaces into full-blown experiences, classically trained British-American sculptor Natalie Clark, Therese Antoine Louis, Italian artist Emilio Ferro, Cameroonian Pascale Marthine Tayou, and Syrian-born and Swedish-raised visual artist Jwan Yosef.

Commenting on the continued partnership between Abu Dhabi Festival and Art D’Egypte, Her Excellency Huda AlKhamis-Kanoo, Founder of ADMAF and the Artistic Director of Abu Dhabi Festival said: “Following the remarkable success of the first edition of Forever is Now, we are proud to play a role once more in the realization of the historic second edition, which features Emirati conceptual artist Zeinab Al Hashemi and her unique geometric installation inspired by Emirati heritage, ‘Camoulflage 1.618: The Unfinished Obelisk’, at the historical site of the only surviving wonder of the ancient world. We are pleased to partner with Art D’Egypte to cultivate our shared vision to nurture artistic innovation and encourage free creative thinking through the exceptional power of the arts. “

Al Hashemi’s unique installation “Camoulflage 1.618: The Unfinished Obelisk”, part of her ongoing “Camoulflage” series, uses recycled camel skin to cover abstract geometric models, similar in composition to the desert terrain, to create a camouflaged scene that expresses an exceptional artistic vision.

She is considered among the nation’s most prominent Emirati visual artists. After graduating from Zayed University with a Bachelor of Arts and Science, she specialized in multimedia design. Best known for her large-scale contemporary installations, she captures the transformations that took place in the UAE in the wake of the architectural and industrial revolutions from her own perspective. Her artistic style is characterized by patterns inspired by her environment, along with the language of geometric shapes inspired by nature, in addition to many elements of the Arab identity that make her works unique for their great richness of formations and dazzling artistic compositions.

Forever is Now II runs from 27 October to 30 November at the Great Pyramids of Giza, Egypt.

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A 7,000-square-foot white mesh hanging by Cibulka is now hung on the museum’s external walls. It is a piece of Cibulka’s continuing “SOLANGE” project, in which she has turned public construction sites into feminism-inspired literary displays.

The piece is embroidered with the words “As long as generations change, but our challenges remain the same, I shall be a feminist” in pink cross-stitched letters.

It is the 27th installation completed as part of Cibulka’s four-year-old project called “Solange,” which takes its name from the German word that starts each piece of text shown throughout the project’s several editions: “as long as.”

A number of other pieces from the series have been shown in France, Austria, Germany, Italy, Slovenia, and Morocco, among other countries.

Since 2021, the museum has been undergoing renovations. The museum’s “Lookout” project, which has seen the construction scaffolding atop the museum’s building converted into public art pieces, has sponsored the installation of this second public art project.

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The free-entry event, called “Art of Living,” will feature 22 installations, artifacts, and works of art. According to the event’s organizers, the celebration will “tune into the myriad interpretations of the dual themes of new traditions and natural connection” and “highlight the depth and diversity of creative thought in the Middle East.”

The featured artists are from different parts of the area. Artists include Rawdha Al Ketbi, an Emirati visual artist who works in photography, mixed media, and other media; as well as Emirati designer Omar Al Gurg, the founder of Modu Method, a design company mostly focused on furniture.

The Art of Living event was organized by Architectural Digest Middle East to provide local designers and artists with a venue to showcase their work and “an opportunity to create without the normal practical restrictions of a client brief, money, or commercial gain,” according to the magazine.

Jubail Island, which is situated between Saadiyat Island and Yas Island, would feature six residential village estates encompassing more than 400 hectares and 10,000 inhabitants within four years.

Ain Al Maha village, a 240-villa coastal community, was unveiled earlier this year. The project is expected to be finished in the first quarter of 2025. It will be built alongside a water channel with views of the sea and mangroves.

On Jubail Island, Art of Living will be on display from October 15 to 23 from 6 to 11 p.m. Registration is required despite free admission.

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