Hands-On Creativity for Children

Al Jalila Cultural Centre for Children presents Bait Al Khazaf, a dedicated space for pottery and ceramics. Designed to inspire young artists, the workshops include pottery-making, painting, and performing arts. Children can shape clay on a wheel, decorate candles, and design costumes while learning from theatre experts. The Centre for Musical Arts leads music sessions, and families can participate in a collaborative mural.

Ceramic Art Exhibition

Curated by Kamal Al Zoubi, Head of the Pottery Department at Al Jalila Cultural Centre for Children, Bait Al Khazaf features works by 55 Emirati and UAE-based ceramicists. Highlights include:

• Communication and Connection by Emirati artist Shamsa Juma, reflecting her search for perfection.
• Ibahar (Sailing) by Abdulla Al Hammadi, inspired by pearl diving.
• Calligraphy Mural by Pakistani artist Adeel Umar.
• Cultural Diffusion by Australian artist Alex Rawson, exploring cross-cultural exchange.
• Oryx the Survivor by Sudanese artist Amani Badur, symbolizing resilience.

The People of Determination Exhibition showcases inspiring works by artists with disabilities, highlighting their creativity and perseverance.

Literature and Visual Arts

Dubai Public Library’s School of Life initiative offers workshops such as:

• Ruq’ah Calligraphy by Mohammed Al Tamimi.
• Doors and Wooden Carvings by Dr Saeed Abdullah Al Wail, exploring Emirati craftsmanship.
• Sikka Folktales by Magdy ElKafrawy, bringing local stories to life on canvas.

Theatre and Folktales

The World Stage Design House (House 203) hosts theatre workshops, including:

• Puppet Workshop by Jacqui George, where children create shadow puppets.
• Lighting Workshop by Youmna Aboelella, teaching stage lighting techniques.
• Costume Design by Salma Lakharouti, using recycled materials.

At Masterpieces House – House of Folklore Tales (House 355), students from the Ministry of Education’s 2024 summer camp present artworks inspired by Kharareef (local folktales), blending tradition with modern creativity.

Festival Partners

The Sikka Art & Design Festival is organized in collaboration with Dubai Roads and Transport Authority (RTA), Dubai Municipality, Dubai Police, Dubai Civil Defence, and the Emirates Council for Rural Development.

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“For an artist, having a residency and curating a show is a dream come true,” Ray expressed, her voice resonating with pride and anticipation. The labour of love spanned six months, resulting in 48 meticulously crafted ceramic pieces that resonate with depth and symbolism.

Ray’s exhibition is not merely an artistic endeavour; it’s a poignant commentary on women’s pivotal roles in education, land ownership, and agriculture. Through the malleable medium of clay, she endeavours to convey the interconnectedness of all beings, emphasizing the gender fluidity inherent in Mother Earth.

“My intent was to encapsulate the essence of what matters most to me as an artist, fostering a narrative that resonates with present and future generations,” Ray explained passionately. Her creations are a harmonious blend of aesthetics and advocacy, each piece echoing stories of resilience, empowerment, and unity.

Central to the exhibit are three striking goddess figures, representing the continents of Africa, Asia, and the Americas. These sculptures stand as a testament to the global sisterhood, honouring the diverse tapestry of women’s experiences across borders and cultures.

Complementing these goddesses are large ceramic spoons, symbolic of nourishment and sustenance, and word puzzles intricately crafted on ceramic tiles. These puzzles, upon closer inspection, unveil interconnected narratives, illustrating the symbiotic relationship between women and the world around them.

For Ray, who was born blind, clay serves as a tactile canvas, allowing her to perceive and navigate the world in her unique way. “For me, it’s about the feel, the touch, and the vision that resides within,” she articulated, highlighting the profound connection between art and sensory perception.

Yet, beyond the artistic brilliance lies a deeper mission. Ray fervently hopes her exhibition will challenge perceptions and broaden horizons, particularly regarding individuals with disabilities, and more specifically, women of colour. In an art world often dominated by conventional norms, Ray’s voice emerges as a clarion call for inclusivity and representation.

“There’s a place for each one of us, a space where our voices and visions can flourish,” Ray asserted. Her words resonate with a universal truth, emphasizing diversity’s richness in the artistic landscape.

As visitors traverse the gallery, they are invited on a journey—a journey that celebrates women, embraces diversity, and champions the indomitable spirit of resilience. Ray’s exhibition is not merely a visual treat; it’s a transformative experience, challenging visitors to see beyond the surface and delve into the profound narratives that shape our collective consciousness.

In conclusion, Donna Ray’s “Women’s Equity and Gender Fluidity” stands as a testament to the power of art to inspire change, ignite conversations, and forge connections. Through her visionary creations, Ray invites us all to envision a world where every voice is heard, every story is celebrated, and every individual is valued. It’s a poignant reminder that art, in its myriad forms, can reshape narratives, challenge perceptions, and foster a more inclusive and equitable world.

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With deft hands, Portnova sculpts her works by hand, reveling in the tactile and textural qualities that clay offers. Her creative process involves the use of various modeling and firing techniques, often incorporating elements of her previous creations and those of other artists to give birth to fresh and unconventional pieces. It is a dynamic and ever-evolving approach that breathes new life into ceramic art.

What makes Portnova’s creations particularly striking is her skillful use of oxides, slips, and glazes, which add depth and character to her works. She artfully integrates organic and inorganic materials, leading to a captivating interplay of ambiguity. Her pieces blur the boundaries between the natural and the artificial, challenging viewers’ perceptions and inciting a sense of wonder and curiosity.

Nature, the sea, and the world of archaeology serve as the wellspring of inspiration for Ielizaveta Portnova’s art. Her works evoke the textures of layered rocks, fossils, and the weathered remnants of time, exuding an innate fragility and an element of unpredictability, much like the forces of nature herself.

Portnova’s artistic journey has led her across the globe. She has actively participated in various residencies, including the esteemed one in Vallauris. Her art has graced numerous exhibitions, from the charming Brussière Badil ceramic market in Dordogne to the distinguished congress of the International Academy of Ceramics in Geneva, and even the illustrious Grand Palais in Paris.

Recognition and accolades have poured in, attesting to the brilliance of her creations. In 2019, she was awarded the Grand Prize at the Opishne International Ceramic Biennial in Ukraine. In 2022, she secured the prestigious Honorary Prize at the international ceramics exhibition “MediTERRAneo” in Italy.

Portnova’s art has resonated with audiences across Europe and Asia, captivating viewers with its mystique and charm. Her works have been featured in various exhibitions in South Korea, Italy, Spain, and her native Ukraine. She is a proud member of the National Union of Artists of Ukraine and the International Academy of Ceramics in Geneva.

Ielizaveta Portnova is not just a ceramic artist; she is a visionary who challenges conventions and invites us to explore the rich, complex, and ever-evolving world of ceramic art. Her pieces are a testament to the limitless possibilities within the medium and the enduring allure of nature’s artistry.

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Hungarian folk pottery has a storied history, with the pottery centers of the Great Hungarian Plain playing a significant role. These ceramics, carried to distant lands through fairs, markets, and traveling merchants, not only met the needs of local communities but also captivated people from faraway places. Each pottery center developed its distinctive style, and starting from the early 19th century, these styles diversified, leading workshops to produce increasingly decorative pieces.

The exhibition, which opened on Thursday, showcases a wide range of ceramic art, spanning from folk pottery to artistic styles, and explores the influences of the Ottoman Empire on Hungarian aesthetics. The opening ceremony was attended by the region’s mayor, Attila Wenner-Varkonyi, and an artist who continues this rich tradition. “Local and Modern: Ceramic Art from Hungary’s South” will be on display until September 2.

The exhibition focuses on a small but significant area of Hungary’s extensive ceramic tradition, which covers a vast geographical region. The works featured in the exhibition come from two important centers in the south: Mezotur and Kunszentmarton. These pieces share similar characteristics with ceramics from other regions, such as elegance, balanced proportions, delicacy, and a harmonious blend of form and decoration.

The ceramics are often adorned with glazes, drippings, incised and carved designs, as well as brush-painted patterns. Two renowned masters, Balazs Badar, and Kalman Bozsik, represent this region and have been influenced by Hungarian folk art and the ceramic art tradition of the Near East, particularly the tile art of Turkey. After being displayed in Hungary, the exhibition made its way to Turkey, showcasing the strong connection between these two cultures.

During the 150-year period of Ottoman rule in Hungary, numerous ceramics were brought from Anatolia to the region. The people of the Great Plain were introduced to a sophisticated and advanced ceramic culture, which left a lasting impact on Hungarian folk pottery. In the late 19th century, Hungarian ceramic workshops rediscovered the decorative arts of the East, this time through new art movements and factory products. Vilmos Zsolnay and his son Miklos, owners of the Zsolnay factory in Pecs, extensively researched the ceramic art of Muslim countries and visited various centers and workshops.

Similarly, Badar and Bozsik incorporated Western and Eastern influences while maintaining their unique Hungarian style. They were pioneers in transitioning from traditional, folk-specific pottery production to crafting high-quality ceramics in small-town conditions, leaving an indelible mark on their era and subsequent generations.

It is worth noting that this ancient tradition has persevered to the present day. Ferenc Mucsi, a master ceramicist from Kunszentmarton, enriches and perpetuates this legacy with new perspectives. At the exhibition opening, Mucsi showcased the fundamental techniques of this ancient craft on the potter’s wheel, demonstrating the ongoing vitality of Hungarian ceramic art.

The “Local and Modern: Ceramic Art from Hungary’s South” exhibition is a testament to the enduring beauty and cultural significance of Hungarian ceramics, bridging the past and the present while honoring the diverse influences that have shaped this remarkable art form.

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Jesse’s teaching career has taken him to various educational institutions, including West Lafayette High School, Benton Elementary School, and Northridge High School. However, he has found his true calling at his alma mater, Westview, where he has been inspiring students since 2006. Being a Westview alumnus himself, having graduated in 1997, Jesse possesses a deep understanding of the spirit and values that define the Warrior community. His return to his roots has allowed him to create a nurturing and supportive environment for budding artists.

Ceramics and painting hold a special place in Jesse’s heart. As an artist, he revels in the joy of getting his hands messy and creating tangible works of art. He believes that the combination of creativity and a strong work ethic is paramount for success in any field. With this philosophy, Jesse aspires to help his students discover their unique visual voices and foster their artistic growth throughout their time in his class.

Jesse Martin’s dedication to his students extends beyond the classroom. He understands the transformative power of art and aims to instill a lifelong appreciation for creativity and self-expression. Whether through guiding students in the exploration of ceramics or encouraging their painting endeavors, Jesse strives to cultivate a nurturing space where each student can flourish as an artist.

Under his mentorship, students at Westview High School have the opportunity to embrace their artistic talents, develop their skills, and find their artistic identities. Jesse Martin is a true artist-educator, shaping the next generation of creative individuals and leaving an indelible mark on the artistic community at Westview High School.

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Since its inception in 1972 by pioneer Iraqi artists Faeq Hassan, Hafez Droubi, and Shakir Hassan Al-Said, the festival has grown to become the largest of its kind. The festival was on hiatus in the 1990s, only to resurface in 2010 for one performance. It was then conducted again in 2017 and has been held annually since, with the exception of 2019 and 2021, when it was postponed due to Iraq demonstrations.

This year’s show features 300 artworks, including 75 paintings, 36 sculptures, six ceramics, and 36 calligraphy works, according to organizers. These are placed in two halls of the Ministry of Culture’s Department of Arts. There were also 147 artworks by Iraqi art pioneers on display at the Ministry of Culture’s Faeq Hassan Hall, which was just opened.

Serwan Baran, Hussein Tai, Waleed Qaisi, Ali Jabbar, Mahmoud Shubbar, Ahmad Bahrani, Kareem Saadon, Hasanein Azzawi, Abed El-Amir Khateeb, Ali Najjar, Hassan Abboud, and Haidar Ali, among others, joined Iraqi artists based in the country to present works that reflect the country’s artistic diversity.

Mustafa Kadhimi, Iraq’s prime minister, attended the event and, according to Muhammed, purchased roughly 20 items of art. “Over the last year and a half, the practice of art collecting culture has grown in Baghdad,” he remarked. “Right now, we’re seeing the emergence of a thriving art market, thanks to the efforts of a number of people, including the prime minister.” All of this demonstrates that Iraq’s plastic art movement is still alive and well, and that Iraqi artists are very productive and skilled.

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