Between 4 May–4 August 2024, the Sharjah Art Foundation hosted the "Drawing Time: Duets" exhibition, drawing from new and historical works that explore drawing as a practice.
Omar Khairy. Duet (portrait). 1976. Oil on Canvas. (69 x 43)cm. Sharjah Art Foundation Collection. Sharjah. Photo: Mowafag Abdalla
Art has always been an essential form of documentation, capturing the essence of human experience and preserving it for future generations. The "Drawing Times: Duets" exhibition at Sharjah Art Foundation exemplified this through the works of Omar Khairy and his unique dual characters. This exhibition not only showcases the evolution of archival materials, particularly paper, but also delves into the themes of memory, identity, and artistic expression. By focusing on drawings and the concept of duets, the exhibition highlights the intricate relationship between artist, medium, and viewer.
Upon entering the exhibition, visitors are immediately struck by Khairy's painting "Duet," prominently displayed at the entrance. This piece sets the tone for the exhibition, emphasizing the theme of duality. The majority of the artworks are on paper, underscoring the fragility yet enduring nature of this medium in documenting human history.
Left: Omar Khairy. Untitled. 1987. Ink on Paper on Wood. (42 x 59) cm. Sharjah Art Foundation collection. Sharjah. Photo: Mowafag Abdalla
Right: Mounir Canaan. The Under World. 1950s. Oil on Cardboard. (23 x 54)cm. Sharjah Art Foundation collection. Sharjah. Photo Mowafag Abdalla
The inspiration for "Drawing Times: Duets" stemmed from the curators' research on the Sharjah Art Foundation’s collection, particularly focusing on Omar Khairy and his psychological condition. Khairy often led a double life, signing his artworks as either Khairy or his alter ego George Edward Scuncucur, and sometimes as both. This duality inspired the idea of pairing the artworks in the exhibition.
Omar Khairy. Untitled. 1977-1981. Ink on Paper On Wood. (49.9 x 60)cm. Sharjah Art Foundation Collection. Sharjah.
Photo: Mowafag Abdalla
One poignant piece by Khairy, created between 1977 and 1981, features two identical characters; one appears depressed and shrouded in darkness, while the other is happy and basked in light. This depiction of duality is mirrored in the works of other artists in the exhibition. For instance, Ibrahim El Salahi's pairing of his self-portrait with "Picasso and Milk Bottle on Window Sill" draws a parallel between two pioneering modern artists of their time. Similarly, Claudette Johnson's large-scale drawings address the invisibility of gendered Black bodies within the British art scene, presented in a way that encourages viewers to reflect on these themes.
Ibrahim EL Salahi. Self Portrait. Early 1960s. Pen And Ink on Cartridge Paper. Sharjah Art Foundation Collection. Sharjah. Photo: Mowafag Abdalla
Ibrahim EL Salahi. Picasso and Milk Bottle on Window Sill. 1984. Sharjah Art Foundation. Sharjah. Photo: Mowafag Abdalla
The exhibition also reflects broader historical and cultural narratives, particularly those of Sudan. Khairy’s drawings of Omdurman neighborhood scenes from the River Nile to the Omdurman market, the zãr inspired paintings by Sudanese artist and co-founder of The Crystalist Manifesto (conceptual art group in Khartoum) Kamala Ishaq, all contribute to a rich tapestry of Afro-Sudanese and Afro-Asian heritage.
Claudette Johnson. Standing Figure 2 (left), Standing Figure 3 (right). 2021. Sharjah Art Foundation Collection. Sharjah
Photo: Mowafag Abdalla
We find that the exhibition showcases a diverse array of artworks, featuring not only Sudanese artists but also an impressive range of international talents among them is David Koloane the multidisciplinary artist whose work mostly discusses and documents the art scene and the socio-political events in South Africa during apartheid and the post-apartheid era. There is also Farida Lashai and her abstract dynamic paintings that intertwine personal narratives with the turbulent scenes of her home country, Iran. In addition to Ibrahim Masoodi with his “Untitled” in the early 50s drawing which captivates with its simplicity yet powerful storytelling. It depicts a mother and child in a moment of quiet resilience amid chaos; sitting in a position that causes some kind of conflict to the viewer where the mother is in the middle of an escalating war and at the same time she gives her child and the viewer some kind of safety and serenity by hugging her child confidently under the moonlight despite the anticipated battle.
The exhibition brought together artists from various backgrounds and themes, enriching the viewer's experience with a multitude of perspectives.
Gallery 4, Al Mureijah Art Spaces. Sharjah Art Foundation. Sharjah.
Photo: Mowafag Abdalla
The curatorial arrangement of the exhibition is meticulous. Artworks are paired and aligned slightly below eye level, creating a cohesive visual experience. The equal spacing between pairs and the doubled distance between each pair establish a rhythmic flow throughout the exhibition. For example, Baya's works depicting women, animals, and trees are presented in trios but with a deep look to the spaces that appear in pairs, with consistent spacing enhancing the exhibition's coherence.
Gallery 4, Al Mureijah Art Spaces. Sharjah Art Foundation. Sharjah.
Photo: Mowafag Abdalla
The visitor experience is thoughtfully crafted, starting with Khairy's "Duet" without its pair and leading visitors through a journey of discovery. As visitors move from one artwork to the next, they are invited to ponder the absence of paper, the presence of duality, and the interplay between light and shadow.
Omer Khairy. Sailors. 1967-90. oil on Board. (70 x 52)cm. Sharjah Art Foundation collection Collection. Sharjah
Photo: Mowafag Abdalla
The exhibition culminates in a plot twist with Khairy's final painting "Sailors", the lost pair of the "Duet" painting, serving as a powerful conclusion. This thoughtful arrangement not only showcases the artists' talents but also highlights the enduring nature of art as a form of documentation.
Gallery 4, Al Mureijah Art Spaces. Sharjah Art Foundation. Sharjah. Photo: Mowafag Abdalla
Additionally, the exhibition includes a video installation by Theaster Gates, a video work “Billy Sings Amazing Grace” that complements the drawings and enhances the thematic experience also it may seem strange that a video is being featured in an exhibition dedicated to drawing, but there’s a poetic link between the video installation and David Koloane’s Acolytes drawing work with evocative and ritualistic choreography they both have. This multimedia element adds depth and provides a contemporary perspective on the themes explored.
The exhibition "Drawing Times: duets" at Sharjah Art Foundation successfully merged the themes of drawing, paper, and duets, creating a harmonious and thought-provoking experience. Through the works of Omar Khairy and his contemporaries, the exhibition highlighted the importance of preserving human history and the role of art in connecting the past with the present.
Visit the Sharjah Art Foundation website to learn more about upcoming events.
