Ras Al Khaimah introduced a different pace to my practice, one shaped less by urgency and more by observation. What initially seemed like a quiet, slow environment gradually revealed itself as a space rich with subtle interactions, routines, and social rhythms. Over time, this shift in pace began to influence not only how I worked, but also how I paid attention.
Living near Al Qawasim Corniche, my days settled into a simple but consistent routine. I would wake early and walk along the waterfront, often covering long distances without interruption. These walks became essential not only for my physical wellbeing but also for my state of mind. The openness of the sea, the steady movement of people, and the absence of pressure created a sense of clarity that allowed me to approach my work with greater focus and ease.
This routine also had a direct impact on my wellbeing. Over the course of the residency, I found myself taking better care of my body and mind, naturally adapting to the rhythm of the place. I lost more than eight kilograms during this period, not as a goal, but as the result of consistency, movement, and a more balanced daily routine. This shift in my physical and mental health translated into renewed creative energy. I felt more present, more open to experimentation, and more willing to trust my instincts.
In the mornings, the Corniche felt spacious and calm. People moved through the space independently, walking, exercising, or sitting quietly. There was a sense of stillness that encouraged observation without distraction. By evening, however, the same space took on a different character. Families gathered, children played, and people occupied the area in ways that felt informal yet deeply rooted in routine. They brought their own seating, shared food, and spent extended periods of time simply being together.
This contrast between stillness and activity added an important layer to my understanding of public space. It revealed how a single environment can take on different identities depending on the time of day, the ways it is used, and the people who inhabit it. Observing this rhythm became central to how I thought about connection, not as something fixed, but as something constantly evolving.
My early work during the residency focused on the old souq. I produced a series of small drawings — quick, observational studies that documented fragments of the environment. These included objects, architectural details, tools, and signage: bricks stacked in irregular formations, chairs placed in transitional spaces, and everyday items that often go unnoticed. The drawings were not intended as finished works, but as a way of understanding the visual and material language of the place.
1. Early Observation – Bricks Study
A quick on-site drawing capturing the irregular stacking of construction bricks in the old souq. A study of form, weight, and repetition in everyday structures.
2. Found Object Study – Sign and Base
An observational drawing of a street sign embedded in a worn base. Reflects the layered visual language of the souq and its overlooked details.
Over time, this approach expanded beyond objects to include people.
Through repeated visits, I began engaging more directly with the people working in the souq and surrounding areas. I drew portraits that were fast, intuitive, and often created during our conversations. These encounters were informal and built on mutual curiosity. In many cases, they were accompanied by a recurring gesture: an invitation to sit and drink tea.
3. Portrait Encounter I
A spontaneous portrait drawn during conversation. The immediacy of line reflects the informal and social nature of interaction.
4. Portrait Encounter II
Another fast portrait exchange, emphasizing intuition over accuracy. Each drawing becomes a record of presence rather than likeness.
5. Portrait Encounter III
A continuation of the portrait series, built through repeated visits and growing familiarity with individuals in the area.
“Have tea.”
This phrase became a constant throughout the residency. It was offered in different places, by different people, and always without expectation. What initially felt like a simple polite gesture gradually revealed itself as something more meaningful. It became a form of connection, a moment of pause that created space for conversation, presence, and exchange. Over time, this act of hospitality became central to my project, shaping both its direction and its meaning.
Despite broader tensions across the region, what stood out to me was the continuity of daily life within Ras Al Khaimah. People remained connected to their work, to one another, and to the places they moved through each day. This sense of continuity and resilience influenced my own position as an artist. It encouraged me to move beyond hesitation and to revisit aspects of my practice that I had previously held back.
This shift is most visible in the final paintings.
6. Process – Ink and Gesture Study
An exploration of looseness and reduction. The portrait begins to dissolve into gesture, anticipating the abstraction in later works.
Moving away from smaller studies, I began working on larger surfaces, allowing compositions to develop more freely and instinctively. Using oil sticks, I embraced a more immediate and physical approach, one that prioritized gesture, layering, and spontaneity. The works became dense with overlapping forms: fragments of faces, symbols, and abstract shapes that coexist within a single visual field.
Rather than focusing on individual subjects, these paintings emerged as accumulations. They reflect a collective presence shaped by multiple encounters and observations. The repetition of facial elements, the compression of space, and the intensity of color all grew out of the experience of being immersed in an environment defined by continuous movement and interaction.
7. Collective Portrait Archive
A collection of small portrait studies laid out together. Individually intimate, collectively forming a broader social landscape.
In this sense, the work does not aim to represent specific individuals or moments. Instead, it attempts to capture an experience: what it feels like to be present in a space where people are constantly staying, passing, and returning. The paintings hold these overlapping states at once, without hierarchy or resolution.
The residency ultimately became less about producing finished works and more about making space for observation, reflection, and change. Ras Al Khaimah offered a sense of ease that made it possible to let go of certain expectations and to reconnect with a more instinctive way of creating. My work, in that sense, is not about the place itself, but about what the place allowed to unfold.
8. Souq Installation – Object Drawings in Space
Drawings reintroduced into an architectural setting, reconnecting the studies with the environment they were derived from.
9. Language & Repetition – “Have Tea”
A visual repetition of the phrase “Have Tea,” reflecting the recurring gesture of hospitality that shaped the project’s social core.