< Previous“ R E P R E S E N T I N G F R E E D O M IS I M PO RT A N T T O M E B E C A U S E I T A L L O W S M E T O B E M Y S E L F . F R E E D O M E N H A N C E S T H E E X P R E S S I O N S O F C R E A T I V I TY A N D IS A W A R R A N T O F SOC I A L P R OGR E S S ” pon entering Alena Vavilina’s studio, which the Russian artist designed herself, one is naturally taken aback by broad rays of natu- ral light streaming in from the fl oor-to-ceiling, French-style win- dows, as well as the open and well-aired splendour the space has to offer. The studio also acts as Alena’s home, in which she has put much thought into the design to suit her style. She started off with a clean slate, with a space that had absolutely nothing – a simple shell-and-core loft apartment in Dubai’s fashionably young Jumeirah Beach Residences. She thought of and yearned for a brightly-lit space and that is exactly what she has accomplished. “I love my studio and space, and I love to wake up to it every day,” admits the artist. Vavilina’s love for art fl ourished from a very young age; for as far as she can recall, she would request her parents to buy her art material and fi nd her an art teacher. Her fi rst tutor was her father. He was not an artist himself, but he introduced the use of water colour and still life painting techniques very early on in Vavilina’s life. In her adolescent years, she enrolled into an art school in Moscow and never looked back since. Vavilina has also been educated in France, England, Malta, China and Dubai – her travels have left a mark on her art pieces in one way or the other. Vavilina’s love for the Chinese culture has seen her spend some of her early days studying the Chinese language and Chinese diplomacy. So infl uenced is she by Asian culture, that she calls herself an “Orientalist,” and this is evident in the style of her art on canvas, for Phot ogr aph y b y Aasiy a Jagadeesh; ITP images Right: Alena Vavilina. Ocean Drop Little. 2019. 20x30x15cm. Acrylic and metal on gypsum; Below: A view of the entrance door of Vavilina’s studio Below from left: Alena Vavilina. Blue Butterfl ies #2. 102x65cm. Watercolor and gold leaf on paper, Singing Angel. 2017. 100x70cm. Charcoal, pastel and gold leaf on canvas, Alena Vavilina. Angel with bird . 2017. 100x70cm. Charcoal, pastel, gold leaf on canvas; Alena Vavilina. Untitled. 120x100cm. Oil and gold leaf on canvas HBA_038_138-141_Studio Visit_ Alena Vavilina_11206370.indd 14011/03/2020 12:37:50 PMStudio VISIT to the viewer.” She layers different material so exquisitely that it may take the viewer a while to deconstruct it with their eyes to truly understand how Vavilina has achieved the beauty of her art. She spends days carefully concealing the fi nal layers to emulsify with the base layers. Some pieces from her mixed media range include Elephant (2020), Red Balloon (2019), and Cherry Blossom (2019), which depict the philosophies behind her observation of nature. Water, which is so special to the artist, is emphasised in the form of water droplets and puddles across her various art forms. “Water is one of the elements of nature which can be observed forever, while red balloons represent the element of creation, inventing a way of looking at things,” explains the artist. She has always been fascinated by elements of nature, as seen in Cherry Blossom (2019), for example, which depicts a little white fl uffy ‘cherry monster’ who pauses to view the cherry blossom from his window. The grey wall in the painting represents “our everyday grey busy life,” states the artist. The eyes of her subjects in the canvases and new sculptures, namely the Big Ocean Drops (2019) and Ocean Drops Little (2019) are, as the artist says, “windows into the souls of the creatures of our ocean.” The works are also a “dedication to the pollution within the big blue sea.” The initial inspiration behind the sad eyes series stemmed from a sustainability point-of-view, to “attract attention to nature.” The initial concept of the signature big sad eye feature was brought to life from a dream the artist had on multiple nights. “I keep a diary on my bedside table so that I can write down my dreams as soon as I wake up,” smiles Vavilina. The wings on the sculptures, another signature element of her work, highlight the concept of freedom. “Representing freedom is important to me because it allows me to be myself,” she expresses. “Freedom enhances the expressions of creativity and is a warrant of social progress.” Next month, Vavilina will be exhibiting at the upcoming edition of World Art Dubai, from 8 until 10 October. The artist will highlight three sculptures; Secret Life of Bear (2020) – which will be a large portrayal of her renowned sculptures, reaching one metre in height, Ocean Drops (2019), and Owl (2020). Other pieces on dis- play will include her celebrated black signature minimalist works with gold and silver leaf work from the Black Collection, as well as a few works which highlight the signature big sad eye features. arts-av.com instance as seen in Cherry Blossom (2019) and in her Butterfl ies Series. Young and bright, the artist wants to be recognised for her own authentic style and she is slowly, but surely, building it. Her works are modern and minimalist, noting inspiration from her many trav- els and her formal and academic learning. Vavilina’s latest series comprises droplet-shaped sculptures, which are inspired by her pre- vious artwork, Red Balloon (2019). The artist was intrigued by the thought of projecting the ethereal creatures she envisioned in her dreams into three-dimensional pieces, a change from the fl atness of canvas art. The sculptures introduce two prominent aspects of her signature style: each piece has wired wings that are hand-intertwined using metallic rings and they embrace coloured chess-board like art portrayal. Entitled Big Ocean Drop (2019) and Ocean Drop Little (2019), these pieces are a continuation of her renowned sculpture Secret Life of Bunny (2019). “I am very selective of the colours I choose,” she expresses, explaining that she limits her works to three or four colours which share similar tones. Vavilina’s art is displayed at Art WeMe Contemporary Gallery, Kuala Lumpur, Artistery’s Gallery Vienna, Austria. Her latest canvases, such as Red Balloon (2019) and Elephant (2020), are made from acrylic paint, metallic wires, artifi cial fur and sheets upon sheets of gold or silver leaves. The artist loves to experiment with different media because it gives her work, as she says, “a unique and unusual texture and feelings Clockwise from left: library inside Valilina’s studio; Alena Vavilina. Elephant. 2020. 100x120cm. Acrylic, silver leaf, artifi cial fur, and copper wire on canvas; Alena’s art material 141 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_138-141_Studio Visit_ Alena Vavilina_11206370.indd 14111/03/2020 12:38:02 PMDiscovering the beauty of Bahraini art, design and culture at The Merchant House makes for a refreshing escape amid the bustling streets of downtown Manama metal, all combined to create a unique style. In addition, bespoke hand- crafted carpets and fabrics adorn the hotel. Overlooking the lobby from an open mezzanine fl oor above sits The Library, specially designed by UK’s leading book curation company, The Ultimate Library. This space is a book lover’s haven, one where readers can sprawl on plush velvet chairs and engage in a collection of good reads. Set within one of the suites is a limited edition Andy Warhol litho- graph of Marilyn Monroe, adding a pop of colour with a hint of sepia. “There are several pieces which refl ect the aspiring young talent within the Bahraini art scene and they are hung throughout the hotel, in the suites and many can also be seen in the public spaces,” states Camp- bell Gray. Guests have the option to dine at two beautiful spaces within the hotel. A rooftop restaurant with indoor and outdoor eating, Indigo, boasts a menu inspired by Mediterranean and Asian cultures. Close to Indigo and overlooking the city is the hotel’s fancy infi nity pool. Only an artsy hotel like The Merchant House would risk using emerald green tiles within the swimming pool. Café Gray is a casual coffee shop set in the lobby, a space where guests can escape for a fresh cup of coffee and homemade bites. Engaging all aspects of wellbeing, The Merchant House is also home to an in-house spa. PureGray Spa is a sanctuary offering treatments to soothe the mind, body and soul. The Merchant House, an uber-chic contemporary hotel, is a melting pot of art which adorns every passage and corner. The mar- riage of art on display by local Bahraini artists and the surrounding modern architecture render this hotel quite unlike any other in the city. “The Merchant House was the searching for and discovering of so many interesting and exciting artists - some of whom are well established while others are up and coming and showing huge promise and talent,” adds Campbell Gray. “I am very proud that we have so many of their works hanging throughout the hotel.” campbellgrayhotels.com Clockwise from top left: the terrace at Indigo; Andy Warhol lithograph of Marilyn Monroe; Interior view of a suite at The Merchant House Bahrain BAHRAIN BOUTIQUE stone’s throw from the bustling Bab Al Bahrain souk lies a luxurious suite-only boutique hotel, The Merchant House. A member of the prestigious Small Luxury Hotels of The World and operated by Campbell Gray Hotels, The Merchant House intimately comprises 46 suites and marks Bahrain’s fi rst fi ve-star luxury bou- tique hotel. The property is deliberately located in the heart of old town in the business district of Manama, a location that was at the core of 19th Century trade hub of Bahrain. The country was at the epicentre of the trade route between the East and the West, and a great deal of mer- chants settled in the city to benefi t from the same. This award- winning hotel gets its name from the main business that thrived at the time – merchants who are now a part of the rich history of Bahrain. Walking into the lobby of this chic hotel, one is immediately attracted to the striking, tall-standing colourful pillar. The column is fashioned in graffi ti with a delicate calligraphic design atop that reads ‘Art Remains’. Mustafa Halwachi, a Bahraini artist, is the creator of this extraordinary work. The right side of the lobby is the hotel’s prime location, and the space has been carefully utilised to portray works from local Bahraini artists. Founder of Campbell Gray Hotels, Gordon Campbell Gray says, “the whole sense of The Merchant House is that it is a calm, care- fully considered space and being boutique in size, it has a design which is very special and utterly unique.” The hotel uses a combination of new and traditional materials to fashion the interiors – material consisting of stone, timber, glass, and 142 HarpersBazaarArabia.com/culture/art Spring 2020 W ORD S B Y BEENA P A GARANI., IMA GES C OUR TES Y OF THE MERCHANT HOUSE BAHRAIN HBA_038_142-143_Escape_11216998.indd 14211/03/2020 09:35:40 AMWe visit the beautifully curated Hôtel de Berri, an eclectic boutique hotel in la Ville Lumière designed for art aficionados around the world PARISIAN FLAIR estled in the art capital of the world, Paris, The Luxury Collection by Marriott International Group’s Hôtel de Berri is their newest fi ve-star art icon. Just a short walk from Paris’s prestigious Champs-Élysées and Arc de Triomphe, the hotel is centred in the French capital’s most notable quarters. The site on which this hotel stands on has an elaborate history of its own; it was once occupied by the then avant-garde Italian fashion designer, Elsa Schiaparelli. Regarded as an icon at the time, Schiaparelli occupied the entire property for over four decades. After her passing, in the late 1900s, French architect Maurice Novarina took over the reins of the property and decided to build a 54-metre tall façade, the only remnant of the history this property embraces. The Dokhan family, current owners and famous Parisian hoteliers have personally curated the art collection housed within the walls of Hôtel de Berri, and are heavily infl uenced by everything French. Almost all art purchases for this hotel were handpicked from antique shops and auction dealers across the country. The colours across Hôtel de Berri are bold and vibrant; the materials used for the furniture are a mix of metal, fabrics, mirror and wood – all weaved to refl ect elegance and cultural anecdotes. The boutique hotel has 35 suites and 40 guestrooms, and the biggest suite of them all, the neoclassical Parisian Suite’s interiors are inspired by the style of the hotel’s most famous landowner, Ms. Schia- parelli, tracing back to the cultural connections from her time. Hand-sewn carpets and the showcase of crafted fabrics across the property are an art delight alone. The hotel’s specially assigned area for sculptures, The Sculpture Court, home to statues, busts and sculptures, boasts specially crafted reproductions by Louvre Museum’s offi cially appointed cast workshop, named Atelier d’Art des Musées Nationaux. An interesting feature within the hotel is a collection of antique clocks from Jaeger-LeCoultre’s Atmos collection. The head of the Dokhan family grew up seeing a large Jaeger-LeCoultre clock on the walls of his grandmother’s hotel, and building on that memory, he built a personal collection for his own hotel. Within the property is a space where guests can treat themselves to tea and Mediterranean culinary delights at the hotel’s restaurant, Le Schiap. The brasserie is home to plush parrot-green velvet sofas set against the backdrop of a massive fresco commissioned by French illustrator Hip- polyte Romain. Romain, born in Paris’s famous art district of Montmar- tre, was greatly infl uenced by Parisian colours and couture, and the same is displayed here. Open all day, the Bizazz bar is home to a picturesque view through large French-style windows which overlook a lush green outdoor garden; a true luxury within the city’s notoriously tight spaces. The purpose behind displaying art in a hotel setting is deliberate. “For the owners, displaying art is part of a way of life and a sense of luxury,” states Fabrice Martin, General Manager of the hotel. “They are art collectors with the belief that art should be present in everyone’s life and they like to display these unique art pieces in the hotel as they do in their own home.” Marriott.com From top: an interior view of a suite at Hôtel de Berri; Le Schiap restaurant; an interior view of a room at the hotel 143 HarpersBazaarArabia.com/culture/art Spring 2020 W ORD S B Y BEENA P A GARANI, IMA GES C OUR TES Y OF MARRIO TT HO TELS The ESCAPE HBA_038_142-143_Escape_11216998.indd 14311/03/2020 09:35:53 AMFrench-Mediterranean restaurant Bagatelle, hand-in-hand with Dubai’s Opera gallery, has meticulously crafted a fine dining experience amidst a mountain of colourful art, finds Athwifa Saleem OPULENCE Sensory 74 HarpersBazaarArabia.coma/art Spring 2018 HBA_038_144-145_The Collector_Bagatelle_11237342.indd 14412/03/2020 01:52:22 PMIMA GES C OUR TES Y OF BIS TRO T BA GA TELLE, OPERA GALLER Y AND THE AR TIS T S agatelle Dubai, with an ambience fi lled with joie de vivre, located within Fairmont Hotel in the bus- tling Sheikh Zayed Road, has been an essential part of the grandiose culinary scene of the region and a playground for art and food lovers alike. Over the last couple of years, in collaboration with Opera Gallery; a key player in the modern and contem- porary art scene in Dubai, has precisely curated a selection of artworks that enhance the restaurant’s vibrant and sophisticated atmosphere. “Dining is a sensory experience, so adding art to a restaurant setting makes perfect sense,” says the director of Opera Gallery, Sylvain P. Gail- lard. “I believe that it complements the entire experience and helps set the stage for the guests.” The artworks on display are embraced as a mise en bouche, whereby diners have their visual senses invigorated by the pops of colour hanging on the walls. “Art [in a restaurant setting] surely is something that guests are increasingly sensitive to, and a growing trend globally,” expresses Gaillard. The collection of art at Bagatelle has been meticulously curated to mirror the international aura of the brand as well as to parallel the dishes served in the restaurant. “Most of the paintings on display are very bright in colours and exude good vibrations, we opted for what could be referred to as ‘feel- good pieces’” adds Gaillard. Some pieces of note include – Diptych on Red (2010) by Canadian artist Johanne Corno; whose full- fl edged post-pop idiom signature style of art caused a whirlwind amongst artists and collectors alike since the 1980’s. With spirited dichotomies, she beautifully coagu- lates symbolic details with gestural movements enhanced with intense colours such as reds and blues, creat- ing an additional bounce to the tex- tures and emitting a bold contempo- rary aesthetic throughout her works. Marilynn Monroe II (2007) by Israeli painter Hagit Shahal; whose works are abstract and conceptual, constituting a kind of complex jour- ney that deals with essence, identity, mood and state of mind, also graces the walls. Hagit extensively uses engraving techniques and monotyp- ing. 2 pandas in Shibuya (2009) by Japan-born artist Hiro Ando; whose artworks mostly depict the night- time urban landscape in Japan is another highlight. The streets of Japan provide an infi nite source of material and inspiration for Ando’s narratives, of which one of the main elements emerged in his paintings, the red fi sh. The red fi sh in his paint- ings acts as a subtle reminder of the ancient Japanese watercolour paint- ings, thus making his work perfused with both a contemporary and traditional feeling. Another work at the restaurant is Curieuse by Canadian artist Andre Monet, whose artworks have a natural connection and sense for the current society and its contemporaries. Monet’s sig- nature conceptual medley of text, texture and colour exudes devi- ation from the norms, exemplifying the characters and personali- ties of its focus. On a couple of occasions, guests have acquired some of the artworks on display as memorabilia, associating the painting with a memorable time that they’ve shared with friends and family over excep- tional food and artful conversa- tions. “At the very core, I always say that art provides emotion, which is a very basic and pure feeling,” remarks Gaillard. “What I hope diners take away from the curation is the added stimulation provided by the paintings, heightening their overall experience at Bagatelle.” bagatelledubai.com From top: Andre Monet, Curieuse; Johanne Corno. Diptych on Red. 2010; Facing page: Mr. Brainwash, Multi Jackson. 2000-2009. Courtesy of Bagatelle and the artists 145 HarpersBazaarArabia.com/culture/art Spring 2020 The RESTAURANT HBA_038_144-145_The Collector_Bagatelle_11237342.indd 14512/03/2020 01:52:29 PM146 HarpersBazaarArabia.com/culture/art Spring 2020 Last LOOK Self-taught, Lebanese-French artist Joëlle Acoury Kurdy discusses the existential topics surrounding her work and how contemporary art can be used as a form of spiritual healing for a better future Below: Joëlle Acoury Kurdy. Evasion. 2013. Mixed media on canvas. Courtesy of the artist Joëlle Acoury Kurdy. Courtesy of the artist TH E R A P Y AR T other evokes emotions and creates a dialogue between elements in perpetual movement, while keeping the conversation going. As an artist, my best work comes from the deepest place inside of me which fulfi ls the need to create. The medium almost becomes secondary to the creation. Sometimes the process is exhilarating, yet other times every cell is poured into the creation, leaving me spent. When creating art from a spiritual perspective, there is no critique or criticism – only the process, the art and the feeling. It is always riveting for me to observe people that look at the paintings and give their impression and scrutinise every aspect. Whether it is technical, the way things are laid out, whether it is the geometry or the colour of the paintings and the composition and how it creates an impact and a feeling in the viewer, – who himself becomes the centre of the painting. The painting becomes a centrepiece of the conversation with the viewer who has a very subjective experience while looking at the painting. It then comes alive with their own perspective of it. It’s always such a profound and captivating experience to listen to the viewer whenever I am present in an exhibition. Just listening to them and how art becomes subjective and how they interpret and feel these emotions. This is where my art no longer belongs to me anymore. My art belongs to the world. The psychologist Carl Jung believed images are expressions of deep human experience and our authentic selves. They are the natural and primary language for the psyche and only secondarily, do we move to conceptual thought. Jung saw images as clues to the unlived life that move toward some form of outward expression and urged others to look at the images of their lives in a symbolic way so as to reveal deeper meanings and their fuller, more authentic selves. Art helps you to access this storehouse of images within ourselves and create a sense of meaning. Given these affi nities between the roles of art and spirituality, it is unsurprising that spirituality is an enduring feature of contemporary art. Engaging with art can be a spiritual experience. Art that is described as spiritual concerns feelings stirred or probed by the art, makes me refl ect on the meaning of life, often drawing on existential questions. I think spirituality is an important notion in modern and contemporary artwork. The problem is that the term is often used too vaguely, to refer to anything that is meaningful. There are different defi nitions of spirituality. That isn’t necessarily the job of artists or viewers, but in order for the spiritual to have currency, its meaning needs to be fl eshed out and that is what I bring out in my art. In the contemporary climate and today’s world I talk about the spiritual in the wake of what is happening in the world today, which I take to mean an engagement with the challenges and consequences of what it means to be human in an age of atrocity. In my work I express the upheaval of all negative forces of our planet and how they are being washed away for a better future. We live in times of change. Our planet suffers from being so badly treated by our ignorance, violence and egocentricity. Yet I am thanking the humanity who is working towards delivering healthcare, education, clean water, protection and dignity to the displaced people. The circular movement is a recurring theme in my painting and it is always prominent as it connects space and time. Everything is in motion. Everything changes. Everything turns. Nothing remains fi xed. The universe is in perpetual movement. I know that the subject of spirituality will always be important to human beings and will continue to be important in the context of art. Certainly, many viewers describe their experience of art in spiritual terms and art can fulfi l spiritual needs in that it makes you refl ect on existence. My artwork has been curated to evoke the most powerful response in the viewer. Individually, the pieces offer a deep exploration of one woman’s internal fabric, opening new ideas dealing with the unlimited unknown. Together, they represent a progression of ideas and a symbiotic and visually pleasing aesthetic journey. My work has survived the wave of information and remains an unpredictable source of my imagination. My art explores processes allowing the instinct to have its say with personal integrity. Combining images with no relationship to each HBA_038_146_Last look_Joelle_11202196.indd 14611/03/2020 09:37:04 AM23 MARCH - 30 MAY SHARJAH ART MUSEUM HOMEBOUND: A JOURNEY IN PHOTOGRAPHY AÏDA MULUNEH THEAFRICAINSTITUTE.ORG CURATORS Homebound: A Journey in Photography Salah M. Hassan Sataan Al-Hassan (Associate Curator) Addis Foto Fest: Nine Year Survey Aïda Muluneh Aïda Muluneh, The Distant Gaze: Return of A Departure, 2017. Photograph. © Aïda Muluneh. Used with permission. AI_AD_HarperArtBazaar.indd 12/12/20 3:04 PMNext >