http://zeinabalhashemi.com/work-forte daily 1.0 2025-06-26 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1482748856499-M1761QUDGRPS44WMABB3/hexalite+by+Zeinab+Al+Hashmei.jpg Work - Hexalite | 2016 Swarovski debuts at Dubai Design Week 2016 with a mesmerizing specially commissioned outdoor installation by Zeinab Al Hashemi, an Emirati designer with a keen eye for thrilling aesthetics. Positioned within Dubai’s Design District (d3), ‘Hexalite’ is an interactive installation comprised of 1,145 Swarovski crystals and 33 hexagonal mirrored-steel structures.   https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1516707554389-QV0F704V61GLMB35T44D/DSCF0336-2.jpg Work - Metamorphic | 2018 Made of eight layers of reinforced metal mesh and stained glass, “Meta-Morphic” is an installation of conceptual art. The different layers of stained glass represent select colours of the land and water, extracted specifically from the topography of Saadiyat Island, where the Louvre Abu Dhabi will be located. Formed with rotated metal mesh and scattered squares of stained glass, the installation will reverberate as the viewer walks around it. Almost static, these shapes are a deconstruction of the surrounding geographical landscape. Thanks to the environmental changes and human interference, geography is in a constant transformation, a fact that we often dismiss. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1465381292205-GEXWXM3RGPFL6UOXVFD6/DSCN03911.jpg Work - Within The Grid | Maraya Art Center | 2016 Al Haraka Baraka talks about the constant movement of nomads and beduins in the history of the region, with no borders or limits in search for their source of life. ever since their has been a glorious transformation influenced by crossroads of different cultures and nationalities. This transformation has left it’s mark on the region. My work focuses on documents these transition inspired by the construction boom. I explore materiality in construction sites and the foundation of building cities through making installations in collaboration with makers and workers. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1465382650783-HROW8340TQLKQB5Q62A5/DSCN0482.jpg Work - Camoulflage | Emirati Expressions 2015 In relate to the camel leather and search for the uses of camel and how it has been the most recognizable mammal in the United arab emirates and its history. Bringing an integral element of a life/functional soul. and every part of the camel is used in and out it’s habitat. The Camel’s uses of goods and services goes way back in history for survival reasons. Today it still remains in it’s rightful habitat but is more looked as a high commodity. The camel’s raw materials is a primary product of nature that can be bought and sold, for so many purposes, including it being as a commodity of luxury. An aesthetic commodity to serve the community. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1446549039952-Q8VOF44KMABE6HKI3PG5/FullSizeRender.jpg Work - Truss.T | Dubai Design Week 2015 Creating abstract shapes made out of aluminium truss and scaffolding poles, inspired by the shape of sails and sailing boats, the artist applies negative space sculpture to define the object with a construction inspired scaffolding metal pole frame. The sail captures a moment of work-in-process. The moment of an unfinished work, yet it is in the state of ‘happening’. The Truss symbolises the state of any form or object trusting the fundamental history of itself, forming a necessary base and core to provide protection and support. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1456060342788-ARL4D1WA97NEBJ8Q5SYT/RockYourSoul.jpg Work - Urban Phantasmagoria | Cuadro Gallery 2014-2016 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1433076290085-DEXIJRCN06PF08TJIDFQ/Monolith+Pillar%2C+2013.jpg Work - Monolith Pillar | 2013 The constantly transforming city challenges the skies with scrapers, which reach above and beyond. Al Hashemiʼs work for Time and Space Matter, plays with the idea of time being the factor in an ever-evolving space. She retraces the footsteps of the creation of these buildings, one constantly sees around them, and comes back to AlQuoz. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1504015310247-JCUNLMWN270DTLZ7QRPS/4.jpg Work - Anachronism | 2016 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1433076872601-49D0UPMNUAHC3MK9LX2C/DSC_0079.jpg Work - Link Between Worlds | Qasr AlHosn Festival 2014 History is a record of events from our past, we pass these histories to reserve our own stories and memories, Where do we come from ? and what we have done for humanity ? it is the making of cultures and heritage. History is a link between the past and the present, anything between those two extremes is known as time, which is how we mea- sure life. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1558247825088-4WKFXAJNV5VTBQBQZ627/IMG_9464.JPG Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1558249743530-BCS7OF321L0KGJMBC1O5/_DAU3603.jpg Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1592205297417-NJGPM7R8CJDG5RVH34X8/_1077774.JPG Work Using the same method behind the 16-pointed star, to symbolizes the evolution of geometry in Islamic art. The Sculpture emphasis on how geometry is all around us, even in the simplest forms and materials. Just like mathematician formula the idea of shapes repetition to create limitless patterns. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1655194481661-3JFLP18JEHEKBY1XJJG7/IMG-0764.jpg Work - Hypersensitivity | Sharjah Islamic Art Festival | 2021 The beauty of life can sometimes be in the fact we live in duality and for that we are always searching, questioning and wondering about the dichotomy of life. The instance of opposition or contrast between two concepts or two aspects of something always seems to capture our interest. Our perception to our world makes us think that’s all there is, or what it should be. As human our upbringing builds a thick skin of what seems to be right and wrong, our opinions are challenged as we grow, and we are intrigued to explore life from other perspectives. Finally, in order to shed that skin, we have to awaken our soul and heal our heart, only then do we get to realize that duality can also bring harmony. In this installation I am using the security laser system as my medium. Inspired from Islamic Art and the use of geometry, the dark room will have laser points protecting an empty plinth. Displaying a CCTV screen showing the interaction inside the dark room. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1655191920555-PSIFN8FEDTJZXJWJ506X/DSC07371.JPG Work - Constructivism: We see things as we are | Leila Heller Gallery 2022 Nature’s Designs Our life is an apprenticeship to the truth that around every circle another can be drawn; that there is no end in nature, but every end is a beginning and under every deep a lower deep opens - Ralph Waldo Emerson Constructivism: We See Things as We Are presents two movements in time simultaneously. The first implicates an artist looking back at the origins of her practice and the second is a forward motion, pushing beyond familiar parameters and into the abstractions of color, structure and space. This solo exhibition by Zeinab Alhashemi at Leila Heller Gallery is multi-layered. Her concerns unravel from the gridded structures of the city and the patterns of the natural environment to a deep understanding of the body, prosthetics and hybridity. Alongside welded metal mesh, scaffolding, camel leather and neon tubes, the oversized, ubiquitous concrete block is one of the materials Alhashemi used early in her practice. She was drawn to its rawness and the idea of being in process or incomplete, as part of urban development that could not be grasped by the human. In contrast, the metal and wood sculptures in this exhibition serve as a sculptural blueprint, in CMYK code - structures for an injured body. They are less about becoming and more about providing a supportive backbone. With her work, Alhashemi recalls a car accident in which her own body had to be held and screwed into place by metal. She constructs her sculptural grids using nuts and bolts in the same manner as orthopedic surgery. Her relationship to materials in fact, has become inextricable to her relationship with her body. Alhashemi plays with color and repetition to evoke a symmetry, alluding to the ways in which the brain is designed to subconsciously see geometry as perfection. The eye captures what it cannot measure. Yet her subtle deviations from repetitive angles don’t affect the overall harmony of her pieces which achieve an equilibrium through perpendicular lines. As Wassily Kandinksy put it, “Form often is most expressive when least coherent. It is often most expressive when outwardly most imperfect, perhaps only a stroke, a mere hint of outer meaning.” Inspired by the Bauhaus movement, color and geometry become compositional elements in her work, with a Piet Mondrian sensibility. Alhashemi has always been interested in complex, intersecting systems, science and art. She has recently conducted research on the geometries of outer space and the applications of vesica piscis - the converging of two disks with the same radius - considered one of the first steps in constructing an equilateral triangle, elements of which can be found when stars collide or a new star is born. Interested in the algorithms and patterns that exist in nature and in the universe, the scale of Alhashemi’s art translates from the micro-level to the macrocosmic. The architectural sense of interconnectivity in her work expresses a keen eye for measurements and proportions such as with the golden ratio and the Fibonacci sequence, in which a combination of numbers and forms is linked to longevity. The grid, a spatial exercise in which she can exert both control and deviance, is a feature she always returns to. With both freestanding forms (at different scales) and wall hangings, her latest sculptures embody movement and texture through the use of degradations of color - the wood grain is layered with paint at various levels of saturation and the color changes from one facet to the other. Despite the rigor and discipline of the lines in her work, Alhashemi experiments with the porosity of boundaries. An inspirational image is the skeleton of an unfinished building she documents over time. It stands outside her window from when a canal was constructed. Like an exposed form in the city, in the middle of a manmade environment, violent urban intervention gives rise to her visual language, a language of solid frames on which to build upon. Alhashemi is fascinated by the duality between nature and industry, a vision though often projected by the external environment, is linked to an understanding of internal dynamics. For her, the natural and the artificial occupy the same space. This is a series of work that maps a body’s response to rapidly morphing environment and the impact of that environment on the body. It is about hybrid states of being in which the natural elements can no longer be distinguished from synthetic forms. In Alhashemi’s structuring of time, change and adaptation, she also bears witness to a certain immobility or fixity, a duality, the unity in multiplicity, and the nature of coexistence between the body and the machine. Written by: Nadine Khalil https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1655200044106-7TM347FPZE1TDUVMN37T/DXA+Zeinab+AlHashemi+05+Lance+Gerber+-+3000px.jpg Work - Camoulflage 2.0 26°39’03.8”N 37°59’34.4”E AlUla, Saudi Arabia Desert X AlUla 2022 Camoulflage 2.0 is a portmanteau, a combination of camel and camouflage, inspired by the way camel hides blend with the desert dunes. The installation strikes the audience as a desert scene from which an abstract camel silhouette emerges. Just as the animal’s natural coloring and form enable it to blend in with its surroundings, so too does the installation meld with its desert backdrop. The scenic shades of the natural camel hair come from different carefully selected camel breeds. The camel hair on the rock-like sculptures symbolizes the magnificent creature that is synonymous with the desert. It is also a reminder that the site is now a public art park that celebrates the desert; it welcomes everyone to discover this place as a masterpiece of nature. https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1668246788756-CCAUDRZTGTOP2845DVRC/Credits+MO4.jpg Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1680514388124-4BKMT7EX9UZG2CRW9ZG0/IMG_8857.jpg Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1680513946492-V8NH0OAU1YKJA4J625P7/108A6792.JPG Work The Grid Within is an experimental installation exploring the interplay between the workings of man and nature expressed by the line and form of the grid. The artist uses steel beams forming six dynamic sculptures to recreate the cylinder pipes found in Prince Faisal bin Fahd Fine Arts Hall in Riyadh in an attempt to play on the visibility and invisibility of these objects. The grid has been used as a foundation throughout centuries in the geometric formulations of nature, art, architecture, technology and the cities we design and become no longer tangible or visible in our reality but embedded into our minds and systems of creation. Through this work, the artist attempts to analyze how our brains shape the world around us and confront us with the grid, asking how the grid can coexist within us. The Grid Within is a revisitation of the artist's previous work, Within the Grid (2015), which began the artist's discovery of the theories behind the Grid. The work displayed in this exhibition portrays a deeper exploration into the philosophies of man inspired by the writing of Charles Darwin in "The Origins of species" and the theories of natural selection. AlHashemi examines co-creation dynamics and how humans sought to exert absolute physical dominance over the natural world while relying on genetic mutations of evolutionary processes to achieve it. The artist also taps into two schools of arts, the Bauhaus and brutalism and references the works of Agnes Martin and her use of repeated horizontal and vertical lines that give a sense of escapism and control. https://static1.squarespace.com/static/556aff8fe4b012776005639c/t/65d8c5351339124d15f26f47/1708604785314/ Work https://static1.squarespace.com/static/556aff8fe4b012776005639c/t/683d54a3848f076a3e74c48e/1748849827306/ Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1750153176472-N5ECZN6H7OC3GYFN48YS/Screen+Shot+2025-06-17+at+1.36.04+PM.png Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1750153385299-4RTR9A3EL5HECLO3XWV2/Screen+Shot+2025-06-16+at+4.02.42+PM.png Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1433082573366-ILYKJAKBTO9RCX6UL7NI/imagesdrp2.jpg Work https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1433076678072-1TWATXF5FXTJAAFCGSON/image_4.jpg Work The element of circumvolution is a key component in this project. My Fascination with spherical | cylindrical elements – the planets and their position| we circumvallate around the Kaaba role of circles| encircling going around in circles.   https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1433080718588-U5PJ84GG8RDN15IVU1RY/_DSC5883.jpg Work An innovative rug made out of camel leather, encouraged by how people in the region are in tune with nature and the desert. This piece of soft furniture will be ready to use for indoor/outdoor and is portable too. http://zeinabalhashemi.com/about-forte daily 0.75 2025-08-25 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/4af8788a-cd85-413a-9dd4-dedbcb38d8f6/A18I2161.jpg About Artist http://zeinabalhashemi.com/contact daily 0.75 2020-06-15 http://zeinabalhashemi.com/feature daily 0.75 2023-04-03 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1655195516744-2ELIRDHV520V6CIAWWVY/DXA+Zeinab+AlHashemi+07+Lance+Gerber+-+3000px.jpg Feature - Make it stand out Camoulflage 2.0 26°39’03.8”N 37°59’34.4”E AlUla, Saudi Arabia Desert X AlUla 2022 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1655195809103-WIWZGN9L4PX0ZMKFUJ2K/DXA+Zeinab+AlHashemi+05+Lance+Gerber+-+3000px.jpg Feature - Make it stand out Camoulflage 2.0 26°39’03.8”N 37°59’34.4”E AlUla, Saudi Arabia Desert X AlUla 2022 https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1591858655909-6MEEPUXJSBYZSIEHZ8SU/LAH06250.jpeg Feature https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1591598767209-QQ3SEG0ASEVJ4O9TO0E6/HBA-At-Work-Zeinab-Alhashemi--Lead.jpg Feature https://images.squarespace-cdn.com/content/v1/556aff8fe4b012776005639c/1591858940699-RYPD5V5X7N3UK8L4FE34/seti_logo_starfield_560px.jpg Feature http://zeinabalhashemi.com/new-page-2 daily 0.75 2025-07-08