Process–the “how” of artmaking–is one of the most mercurial aspects of creative production. Finding a process that works is the cornerstone of productivity; yet artists struggle to identify it, articulate it, and reflect on it. Historically, the question that critics and audiences love to ask of artists—“how did you make this?”—has been a carefully guarded mystery, and is difficult to answer. The artistic process often verges far from transparency, consistency, and linearity, and any question of “how” often opens onto another complex question of intentionality–the “why” of artmaking.

This exhibition excavates the process of process, asking how artworks evolve before they reach a “finished” state. The five participating artists have reflected on their own processes of making, revealing an understanding of process that is as much about problem finding as it is problem solving. For each person, process involves negotiating between idea and material; at times, it is the process itself that becomes the finished work. A leitmotif linking their diverse practices is a curiosity about the time it takes to produce: from inspiration, to reiteration, to failure and resolution. Taken together, the works demonstrate perhaps the most important thing about a process: to trust it.

The exhibition will include the activation of exhibited elements, and invite conversations about process between the artists and the broader creative community in the UAE.

Participating artists: Ali Al Ali, Armin Hosseini, Sulafa Mohammed, Elham Shafaei, and Huma Shoaib.

–           Dr. Christianna Bonin

Artists: Ali Al Ali, Armin Hosseini, Sulafa Mohammed, Elham Shafaei, and Huma Shoaib.

Sulafa Mohammed

In the Meaningful in its Meaninglessness series, I use crochet to explore the ephemeral nature of numerical information temporarily ascribed to individuals by governments, corporations and other institutions. The series reflects on data points that momentarily define aspects of our existence, only to quickly become obsolete – a delivery number vital until the package arrives, an OTP number until the transaction concludes – each a fleeting marker of identity and ownership. Through my relationship with crochet, traditionally employed in the creation of tangible, functional items, I venture into the abstract, transforming impersonal data into organic sculptures devoid of utility, but rich in process.

The series begins from observation through trial and error, followed by involving the documentation and preservation of ephemeral moments. Through a series of arithmetic processes, I develop the numerical parameters that I use to establish crochet patterns.  The process embraces uncertainty and unpredictability, and the final form reveals itself to me only through the process of creation.

The crocheted sculptures are encased in resin, enabling me to abstract ephemeral, impersonal data into personal artifacts. As a material that is both clear and solid, resin reveals the once-active data while also sealing it away from the world—preserved, yet inaccessible, much like memories or history. The ‘dead’ data, now encased and almost fossilized, no longer evolves or participates in the active digital landscape. It leaves us to reflect on what aspects of our digital existence will be remembered.

Elham Shafaei

Organized into seven thematic categories— “In My Brain,” “In My Skin,” “In My Eye,” “In My Blood,” “In My Heart,” “In My Nerves,” and “In My Ear”—my artist books serve as reflective spaces, which help question how my interactions with the world have shaped my self-understanding. This process is entwined with my experience of being an Iranian woman-artist living abroad.

Stitching, my primary means of expression, allows me to symbolically and physically weave together my memories and ideas into a larger narrative. I extract and stitch abstract forms, words, and poems onto fabric. Inspired by abstraction in Persian art, I use non-representational forms to convey the beauty and spirituality of my culture. The majority of texts are presented in Farsi, and intricate stitching techniques bridge literature and calligraphy. The Persian language, a melodious blend of history, poetry, and culture, transcends mere communication to become an art form—a dance of words and phrases that reflects my way of life.

Sensory engagement—seeing, listening, feeling, touching, and flipping through the pages—is crucial for connecting viewers with the work’s meaning. To encourage this, I incorporate an auditory layer of scissors cutting threads and Persian words that are represented in these books and the art of stitching.

Ali Al Ali

In Interlock of Time, I explore the relationship between process and the passage of time. Living amidst constant construction, I noticed piles of interlock blocks waiting patiently to fulfill their purpose as pathways for people.

This series reflects how time, often the most challenging aspect of any process, cannot be bypassed or ignored. We may manipulate time, attempt to expedite or savor it, but ultimately, it must be experienced. The interlock blocks symbolize this inevitability. They lie in various, often haphazard piles, much like the stages of our own endeavors.

In observing these blocks, I have found a poignant metaphor for our journeys. We may have all the necessary elements – skills, resources, plans – but there is an unavoidable period that must elapse before we see our efforts come to fruition. This period, often filled with anticipation and sometimes frustration, is integral to the process itself. I invite viewers to contemplate the significance of this waiting period. As you navigate this installation, consider the interlocking blocks not only as construction materials, but as symbols of the time-bound journey towards completion.

Armin Hosseini

This series explores the process of transforming an immaterial idea into a tangible, three-dimensional shape. While I typically exhibit finished, smooth geometric sculptures, I have created these works in order to reveal their geometric building blocks. Each three-dimensional object is a puzzle, consisting of unique shapes that flow together to finalize their shape. In doing so, I reveal how an artwork comes together and also undoes itself.

Huma Shoaib

Drawing inspiration from sufi philosophy, my work provides a meditative visual respite while also provoking challenging questions of social division. Actions like shredding and restructuring pages from history books, and reducing words from letters to dots (nuqta), represent attempts to unlearn concepts fed to humans over time. As geometric symbols and colors deconstruct across a page, so do the works invite viewers to break down the complexity of stimuli they are exposed to each day into a core, single entity.

In my recent body of work, I have used fragments of my own poetry alongside mystic Urdu and Punjabi poetry to form an analogy between mortal love causing pain and divine love leading to eternal peace. With shredded text from the book, “Battles that Changed History” and poetry on love and devotion, these works question the territorial battles fought historically and emotional battles fought among individuals. Both seem unnecessary and leave an everlasting impact and damage.

We invite you to join us at XVA Gallery for this insightful exploration of nature, art, and mindfulness, envisioned through the creative perspectives of our talented artists and researchers.

Please contact the gallery for further information and sales lists: xva@xvagallery.com or telephone +9714 3535383