Bio:

Salama Nasib holds a Bachelor's degree in Visual Art from Zayed University. She has exhibited at local and international venues, including Tashkeel, Ara Gallery and Rira Gallery, as well as at the Venice Biennale, The Meridian International Centre in Washington DC, and The Printmaking Centre of New Jersey. Nasib has established herself as a successful emerging Emirati artist, specifically in printmaking. She has been part of the inaugural batch of the Salama Emerging Artist fellowship, provided by the Salama bint Hamdan Al Nahyan Foundation and in collaboration with Rhode Island School of Design. In addition, Nasib has been the guest artist of Past Forward: Exhibitions from the UAE, hosted in East Lansing (Michigan) in USA, as the fifth destination of the touring exhibition. Nasib also worked as a Studio Coordinator at Tashkeel where she stayed abreast of the latest Emirati art trends while managing seven studios, organising artistic and collaborative workshops, and co-curating upcoming exhibitions. Nasib is currently a full-time artist living in Dubai, United Arab Emirates.

 

Statement:

My work reflects on the constant dialogue between my heart and my brain. This dialogue revolves around the topic of memory, and is typically composed of questions, answers, reflections and imaginative scenarios. There are tangible narratives shown through installation where viewers can interact with the piece and intangible narratives depicted through illustrated pieces usually as drawings or prints on paper. Through my research on the subject of memory I have come to better understanding, and perhaps a realization of how powerful memories are, both obscure and ephemeral at the same time. While pursuing this subject I hope to use printmaking to further investigate similarities and differences between my own stories, my culture, and people whom I will encounter.  I see many similarities between my subject matter and printmaking. Printmaking is about having a surface, creating a mark on it, and then printing multiple times without risking losing the original mark making. This surface – or matrix as referred to in the printmaking world – is often infinite.