Abdul Rahim Salem is recognized today as one of the UAE’s most prominent artists. Born in Dubai in 1955, his early years were shaped by the coastal landscapes of Sharjah and Dubai. After the loss of his father, he moved with his mother to Bahrain, where she worked in a prominent household, and where Salem’s artistic talent began to shine. At just 14, he made his debut at the Bahrain Annual Fine Arts Exhibition, showcasing a collection of sandstone sculptures. Salem went on to earn a BA in Fine Arts (Sculpture) from Cairo University in 1981, returning to the UAE to become an art teacher. His career blossomed as he participated in numerous Arab and international biennials, gaining recognition through both group and solo exhibitions. He also took on a leadership role as Chair of the Emirates Fine Arts Society. A versatile artist, Salem has experimented with performance and installation art alongside fellow artists like Hassan Sharif. Currently based in Sharjah, he continues to create from his studio while also developing children’s art books for the Ministry of Education. His works have been featured in exhibitions both regionally and internationally.
In this interview, Salem sits down with Egor Sharay, a cultural analyst and leading expert in the creative industries who has lived in the UAE for over 15 years. Their conversation touched on the evolution of Emirati art, the cultural landscape of the UAE, and Salem’s own artistic journey.
Abdul Rahim began by emphasizing that art, in its purest form, transcends nationality. He explained that although Emirati artists might draw from local culture, folklore, and the natural landscape of the UAE, art itself remains a universal language, free from rigid classifications tied to nationality or religion. He cited Abdullah Al Saadi as an example, an artist whose work reflects local Emirati themes, yet holds universal beauty and relevance. Abdul Rahim firmly believes that while artists naturally draw from their memories and cultural roots, art should not be confined by labels.
Abdul Rahim’s journey began in the late 1970s and early 1980s, a time he described as a period of challenging transformation. For Emirati artists of his generation, the process of cultivating an artistic identity in a region that offered little recognition or infrastructure for the arts felt akin to trying to make the desert bloom. Returning home from abroad, laden with new ideas and techniques, he and his peers found themselves in what he called a “barren desert,” both literally and metaphorically. The landscape was devoid of any serious artistic culture, and it was their mission to create a space for creativity to flourish. This journey was difficult; society was not ready to embrace the kind of change they envisioned. Nonetheless, they persisted, striving to foster an appreciation for the arts slowly and steadily, growing alongside the society they aimed to inspire.
After his education at the Cairo College of Fine Arts in Egypt, Abdul Rahim sought a unique direction in his work. By 1992, he had gravitated towards a recurring figure in his art, a folkloric character named Muhaira. This character, based on a story Abdul Rahim heard from his mother during childhood, became a central figure in his art. Muhaira was a woman enslaved in a large Sharjah family, who was cursed by a man after repeatedly rejecting his advances. The curse drove her to madness, and she met a tragic end alone in the desert. Abdul Rahim’s fascination with Muhaira extended beyond folklore; he believed he had seen her in his dreams- a beautiful woman surrounded by dogs, holding a tragic, untold story. This vision of Muhaira drove him to dedicate much of his work to her, using abstract forms and symbols to capture her essence. He aimed to depict Muhaira not as a literal figure, but as a representation of resilience and the struggle for autonomy, encouraging viewers to find their own version of Muhaira within themselves.
Abdul Rahim’s art, though inspired by specific stories, is also heavily influenced by concepts of motion and time, drawing some parallels with the Futurist movement. He described his technique as an attempt to capture the passage of time and movement within a two-dimensional space, using lines and symbols that represent these shifts. His depictions of Muhaira, often using pencil and pastel, embrace abstract forms – squares, triangles, and lines that suggest rather than define her presence. He intended for each person to interpret Muhaira differently, understanding her as a symbol of breaking free from societal expectations. The way he presented her figure in his paintings was a conscious invitation for viewers to explore their own perspectives.
The reactions to Abdul Rahim’s work have varied, but he does not seek approval. He likened his art to a song that resonates differently with each listener – intensely personal, yet open to interpretation. Abdul Rahim said he paints for himself, not for validation, and respects diverse reactions to his work. His style is deliberately abstract, leaving room for viewers to project their own interpretations. He finds it amusing when people claim to see literal features like eyes or faces in his paintings, as his intention is to go beyond the literal, striving to communicate on a more emotional and symbolic level.
Originally trained in sculpture during his time in Cairo, Abdul Rahim ultimately transitioned to painting upon his return to the UAE. He found sculpture too limiting; it lacked the depth he sought to convey the spiritual and emotional layers he saw in his subjects. In painting, he discovered a medium that allowed him to explore these complexities through color and form, much like the layers of Sufi mysticism that influence his approach. While a sculpture might present a static image, a painting, he believes, opens up a world of hidden dimensions – like diving into the depths of the sea, revealing a rich variety of colors, shapes, and emotions.
Reflecting on his youth in Bahrain, Abdul Rahim acknowledged the crucial role his early art education played. Bahrain, in the 1960s, had a more established art scene than the UAE, with exhibitions, lectures, and workshops that fueled his passion. Upon his return to the UAE, he found a cultural landscape still in its infancy, with minimal resources or opportunities for artists. The few exhibitions held in Dubai were modest and rare, but they sowed the seeds of what would later become a flourishing artistic community.
The turning point came when he met other Emirati artists in Cairo, individuals who, like him, were navigating their way through an artistic journey largely unsupported back home. This shared experience led to the formation of the Emirates Fine Art Society, a collective effort to foster an artistic community in the UAE. Abdul Rahim and his peers, including notable figures like Hassan Sharif and Mohamed Yousif, were determined to create a space where emerging artists could learn and develop. The Sharjah National Theatre became an early hub for their gatherings, and they sought official recognition, engaging with government officials and securing the support of HH Dr. Sheikh Sultan bin Mohamed Al Qasimi, the Ruler of Sharjah.
Over the years, the Emirates Fine Art Society grew, attracting younger artists eager to learn. Abdul Rahim recalled one particularly significant exhibition in 1992, where they invited Soviet artists to Sharjah. This event was a precursor to what would become the Sharjah Biennale- a pivotal moment that placed Emirati art on the global stage. The Biennale became a platform to showcase both local and international artists, transforming the perception of the UAE’s art scene.
Abdul Rahim also spoke of the publication Tashkeel, a magazine produced by the Emirates Fine Art Society. This magazine served as a semi-textbook for the society’s members, sharing knowledge, ideas, and perspectives on art. It was a vital tool for educating the community, providing a space for artists and writers to express themselves and document the UAE’s evolving artistic landscape.
Despite the successes, Abdul Rahim remains nostalgic for the early days of the Emirates Fine Art Society, when there was a more intimate connection between artists of different generations. He expressed concern that younger artists today, who often rely on social media for exposure, seem less interested in learning from the experiences of their predecessors. He lamented the sense of distance he sometimes feels when visiting universities, noting that many students are unfamiliar with the older generation of Emirati artists.
For Abdul Rahim, art has always been deeply personal. His works often evoke the pain of his past- loss, longing, and the sense of displacement he felt upon returning to the UAE from Bahrain. He described how, even if he does not consciously set out to do so, these feelings seep into his art, revealing themselves in unexpected ways. Yet, for him, this is the essence of true artistry: creating from the soul and inviting others to find their own reflections in his work. Through perseverance and passion, Abdul Rahim and his fellow artists succeeded in cultivating a vibrant and respected art scene in the UAE – a legacy that continues to inspire, even as the cultural landscape evolves.
About Egor Sharay
Egor Sharay is recognized for his engaging and insightful journalism, covering a wide range of topics including contemporary art, societal trends, and the ever-evolving cultural and media landscape in the UAE and beyond. His work often delves into how Dubai, as a melting pot of global cultures, influences and is influenced by media trends, entertainment, and lifestyle. With a finger on the pulse of the media industry, Sharay’s contributions to journalism include in-depth interviews, analytical pieces, and commentaries that explore everything from emerging social issues to technological advancements in media. His analysis is often characterized by a thoughtful examination of how traditional and new media intersect, particularly in a region where rapid modernization coexists with cultural heritage.
