‘Reflections' show narrated personal journeys and universal experiences
Muhammad Yusuf, Features Writer
'Reflections – Stories That Matter' exhibition that recently closed doors at Mehromah Art House, turned the space into a hub for artistic storytelling. Jesno Jackson served as curator; the show was produced by Art4you Gallery. 16 artists from 12 countries took part in Reflections, with each of them speaking their story, to provoke a global conversation.
The exhibition explored the power of storytelling, through visual art. A collection of paintings, sculptures, and installations, conveyed personal and culturally significant narratives with themes of resilience, identity, transformation and social impact, taking centre stage.
Abir Ouertani's (Tunisia) ceramic works, Tree of Life and Blanket of Love, stood as testaments to nature's resilience and the interconnectedness of life. Tree of Life was a striking representation of grounding and growth, where gnarled roots emerged from a textured spherical base, evoking the depth and complexity of existence.
Eric Afranie's picture of the camel.
Blanket of Love portrayed the interplay of smooth and rugged textures; the narrative embodied both strength and vulnerability. Medusa and Poseidon by Rija Umar (Pakistan) re-examined Greek mythology. The pieces explored the intricate relationship between tragedy, fate, and power. The dual nature of Medusa's life — both feared and lamented — was picturised. It prompted the audience to reevaluate her story — not as a monster, but as a victim of fate and irresistible divine purpose. Poseidon, on the other hand, radiated might and majesty.
Clarisse Meneghetti (Brazil) allowed spectators to enter a realm where shape is determined by emotion and movement. In Luminance, motionless waters mirrored the beauty of Sheikh Zayed Mosque; the painting served as a silent witness to its majesty. In Golden Sky, shining hues of dawn danced over changing dunes, briefly broken by the gallop of stallions. Eric Afranie's (Ghana) mosaic combined cultures, history, and sustainability.
Shakiba Rabiei's composition.
He is an African artist, located in the United Arab Emirates. Crafted from discarded leather and plastics, his expressive piece embodied narrative and environmental conscience. The artist's African roots and the wide deserts of the United Arab Emirates, were symbolised by the rough background of his work, made from discarded leather.
Tatiana Lamiri's (Morocco/Russia) paintings Harmony and Light in the Darkness demonstrated her skill in fusing abstraction with emotion. Harmony reflected the interaction of opposing forces in life whereas Light in the Darkness, was a work that evoked perseverance and represented optimism in the face of hardship.
Roya Vahidi (Iran) was engaged in a visual conversation on the intricacies of identity, connection and emotional depth, as offered by the pieces Human and Two Faces. A comprehensive investigation of unity in variety, Human depicted individuals with unique personalities who are connected by an unseen thread of shared existence. Two Faces looked into the duality of human emotions, uncovering the friction between social expectations and personal experiences.
Artists and art supporters at the event.
Vasilisa Eliseeva's (Russia) flower paintings captured the fleeting aspects of beauty and life. She urged viewers to perceive flowers as emotional and spiritual symbols, than as mere biological formations. Mehboobeh Shahnavas's (Iran) Moody was a series of hyper-realistic photographs that expertly captured youthful emotions.
The juxtaposition of vibrant hues and delicate textures heightened the contrast between innocence and experience. Shakiba Rabiei's (Iran) 3D plaster modelling on wood and canvas enhanced with acrylics, became a physical representation of Shams Tabrizi's lyrical vision, in which the heart becomes an infinite vessel of experience. By expanding the approach to walls, she broke down barriers, enabling emotions to overflow surfaces.
Jesno Jackson's (India) collection of landscapes Ethereal Horizons: Reflections of Tranquility demonstrated an understanding of nature's harmony and the emotional resonance of light, colour, and reflection. The artist's masterful use of colour palettes — from soothing blues and purples of twilight to the fiery oranges and reds of a desert sunset — reflected a sound grasp of atmospheric mood.
Clasrisse Meneghetti depicts a race.
Each painting asked viewers to reflect on what was both ephemeral and timeless in the natural world. Thauheeda Thameem's (India) abstract series captured the emotional journey of the human experience, providing a reflective and introspective visual journey. Elyazia Aljassmi's (UAE) oil paintings of a girl in various natural locations, was a moving examination of loneliness and connectedness to the environment.
Tamara Noori's (Sri Lanka) reflections of cultural pride and resilience in Humble Culture and The Three Knights, captured Emirati heritage, offering an exploration of resilience in the midst of tradition and innovation. In Humble Culture, the depiction of an Arabian lady wearing intricately embroidered clothing, exuded grace and pride, while in The Three Knights, Tamara captured the symbolic power of Arabian horses, creatures that have long been a cornerstone of survival and prosperity in the desert.
Labiba Ferhat's (Algeria) rich cultural legacy imbibed from Algeria and modern creative expression, were combined in her artworks. Her pictures skillfully reproduced the majesty of famous sites, from the architectural splendour of Hassan Pasha Mosque to the eternal attraction of the Casbah of Algiers. She invited audiences to interact with the past, arousing feelings of historical pride, in a modern context.
The strong connection between Arab culture and camels was eloquently conveyed by Lucinda Holland's (UK) camel pictures. They captured various moods of the noble animal. Yaashi Khatanhar's (India) Regal Renaissance was a photography series that seamlessly connected two of history's most culturally rich periods: the grandeur of Mughal monarchy and the eternal spring of the Renaissance.
Curator Jackson said that 'the core of 'Reflections' was an invitation to participate, listen, and question. Each artist's contribution addressed not just personal experiences, but also universal topics that unite mankind.'
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