March 5 - 31 2014
Mohamed Abouelnaga dismantles the collective and historical ‘Orientalism’, the western view of the Orient, to represent it in the female form, which was so often used in the traditional painting of the Orientalists. When viewing the Orientalist paintings of the nineteenth century, Abouelnaga felt he was in a surreal world blending realistic elements and an imaginary fantastic world. Semi nude women standing in markets where no one takes any notice, the paintings of Da Vinci or David could easily have been transported romantically to an Arab setting.
SMALL IS BEAUTIFUL
February 5 - 24 2014
Jacaranda Images exhibits a collection of works celebrating small works by a variety of artists. It is an invitation for close inspection of detail that makes smaller artworks a joy to contemplate. Paintings, prints and sculptures from Australia, London, Spain and Jordan are brought together showing that small is indeed beautiful. Artists represented include international artists Rosa Brugelat, Lizzie Newcombe, Suzy Perring, Louise Davies and from Jordan: Tariq Dajani, Sina Ata, Basel Uraiqat, Ahmed El Khalidi, Saleh Abu Shindi, Dodi Tabbaa, Anees Maani, and Mohammed Abu Zraiq.
May 7 - 31 2014
Kholoud Mohammed's first exhibition in Amman reflects the state of women in an ideal world where peace, confidence and beauty reign. The monochromatic works possess strength from their boldness in design and simplicity of the subjects' poses. Reminiscent of traditional Japanese compositions, the hand drawn illustrations could easily be woodcuts from the times when 'Japonism' was the latest influence on for artists like Aubrey Beardsley, Mucha and others of the mid to late 1800s.
December 3 - 31 2014
In his first exhibition in Jordan, Mohammad Awwad creates fantastic sequences of what appears to be haphazardly associative imagery but are in fact addressing critical issues of today. A ‘phantasmagoria’, in late 18th century France, was a series of illusions created by magic lanterns shown for the public. They often used frightening images which the public flocked to see, no doubt to be scared out of their wits and perhaps as a way of dealing with the upheavals of the French Revolution. Mohammad Awwad’s images are not frightening, but the subjects he chooses to explore often are, with their consequences and how they affect the world today