One-of-a-kind friendship: Meet UAE artist inspired by Khor Fakkan mountains

Khaleej Times

08-02-2025

'They may seem harsh, but they are not,' said Emirati artist Mohamed Ahmed Ibrahim, reflecting on his lifelong connection to the rugged mountains of Khor Fakkan. 'There is so much life within them, and when I am there – surrounded by the stones, the hanging trees, and the small creatures – I find true peace. My family has always been drawn to the sea, but for me, they were the mountains that called.'
Ibrahim, 63, one of the UAE's most significant conceptual artists, has spent decades exploring and documenting his surroundings. His deep engagement with nature manifests in an artistic practice that transcends conventional forms, drawing on the textures and rhythms of the land.
His recent exhibition at Maraya Art Centre in Al Qasba, Sharjah, followed an acclaimed showing at the Venice Biennale, where he represented the National Pavilion UAE with his installation titled 'Between Sunrise and Sunset'. The work is a poetic meditation on memory, transformation, and the shifting colours of light — concepts that have shaped his artistic vision for years.
Stay up to date with the latest news. Follow KT on WhatsApp Channels.
The first sunset
Speaking to Khaleej Times, Ibrahim shared the origins of 'Between Sunrise and Sunset' trace back to a hidden moment in his childhood — one that lay dormant in his subconscious until it resurfaced in his art.
Growing up in Khor Fakkan, a coastal city enveloped by mountains, Ibrahim had never seen a complete sunset. The landscape – beautiful yet imposing – obscured the horizon, allowing only the shifting light of dusk to filter through. It was only on a visit to Sharjah with his father that he witnessed, for the first time, the full effect of the sun setting.
He recalled how the golden light bathed the old souks, casting hues he never encountered before. The experience was almost mystical, leaving an indelible mark on his perception of colour and time.
This encounter ultimately inspired his Venice Biennale installation — a series of undefined sculptures fashioned from everyday materials like paper, tea leaves, and cardboard. 'Some might see them as trees, others as lamp posts. Their ambiguity is intentional, inviting viewers to find their own meanings. What remains undeniable, however, is the evocative interplay of colour, which shifts subtly across the sculptures, mirroring the phases of the sun's daily cycle,' he shared.
An artist shaped by change
Sitting in a quiet shop within Maraya Art Centre, surrounded by art books and handmade crafts, Ibrahim shared more about his life and creative exploration.
'The formation of the UAE changed everything,' he said. 'Before that, we were always here — artists, writers, musicians — but after the union, we became more connected to the world. There was an awakening, a realisation that we could forge our own artistic identity.'
One of the pivotal moments in his career was meeting Hassan Sharif, the Emirati conceptual art pioneer, who had returned from studying abroad. Conceptual art, which prioritises ideas and concepts over traditional aesthetic or material concerns, became a key influence in their discussions. Through these exchanges, Ibrahim was introduced to land art — a movement that resonated deeply with his instinctive engagement with nature.
He shard: 'Our conversations were always about creation and connection to the environment. More importantly, we wanted to ensure that future generations of Emirati artists would have a foundation — a continuum of artistic expression that would endure beyond us. And we were right; it is still growing, still evolving.'
Ibrahim is regarded as one of the five pioneers of contemporary conceptual art in the UAE, alongside Hassan Sharif, Abdullah Al Saadi, Hussain Sharif, and Mohammed Kazem. They are jokingly referred to as the 'Jackson Five' of Emirati art.
Silence, sound, and the art of listening
Beyond the expected influences of classical music and traditional Khaleeji rhythms, Ibrahim's taste in music reveals a penchant for the experimental. He spoke of John Cage, particularly his infamous piece 4'33' — a composition of pure silence that forces the audience to listen to the ambient sounds around them.
'This piece,' he said, 'isn't about silence — it's about listening. It forces you to become aware of the sounds that are always there, but that we usually ignore.'
His admiration for Cage aligns with his own artistic philosophy — an openness to experience, a reverence for the unnoticed, and a desire to transform the ordinary into the extraordinary.
The artist as a librarian
Another unexpected revelation was Ibrahim's past as a librarian in Khor Fakkan — an experience that he admitted shaped his artistic sensibilities as much as any formal training.
'Libraries are worlds within worlds,' he noted, 'I was always surrounded by books, and that became a familiar space for me.'
His personal collection is vast and eclectic, covering everything from mythology to anthropology – disciplines that he believes hold the key to understanding the origins of creativity.
'Humans have always documented their existence. Whether through cave paintings, hieroglyphs, or poetry, we have an innate need to record our experiences — to leave behind something that speaks of who we were,' Ibrahim noted.
The essence of Ibrahim's mission is not just to create, but to inspire future generations of Emirati artists to continue the journey. To explore, to experiment, to push beyond the boundaries of form and tradition. His piece of advice about life: 'Read about anything and everything. Never limit yourself.'
Artistic notes
Between Sunrise and Sunset, a seminal installation by Mohamed Ahmed Ibrahim, offers a deeply personal meditation on time, transformation, and the interplay of colour. Originally curated by Maya Allison, chief curator and executive director at the NYUAD Art Gallery, and commissioned for the National Pavilion UAE at the Biennale Arte 2022, the installation is now showcased in Sharjah and in collaboration with Lawrie Shabibi.
Curated by Cima Azzam, the ongoing exhibition at Maraya Art Centre in Al Qasba, invites visitors to immerse themselves in Ibrahim's distinctive visual language — where organic forms and shifting hues reflect the passage of light from dawn to dusk. Running until August 1, this showcase offers a rare opportunity to experience a work that not only pays homage to the landscapes of the UAE but also speaks to the universality of memory, perception, and artistic introspection.