20/20/20

A pre-literacy puzzle set designed for Qatar Museums' Family and Schools Programmes, targeting children between 0-5, their siblings and their parents. With the pieces you can create letters, words, shapes and patterns, or build your own creations.
Leila Natsheh, 'Haligo', Wood, acrylic on wood, coconut finish pieces of 5x13x13 to1.5x20x2.5 cm, 2016, ©Raviv Cohen, VCUarts Qatar

©Raviv Cohen, VCUarts Qatar

DNA is a brief description where it shows clearly the effect of the environment on the variable where it expresses that whatever your background is, the environment around you is what will define you as a person and will have a major influence on your identity.
Maryam Faraj Daham AI-Suwaidi, 'Genetics - DNA', Gypsum and gold, 2017, ©Raviv Cohen, VCUarts Qatar

Hana AI-Saadi, 'Hmmm ...', Resin, 2017, ©Raviv Cohen, VCUarts Qatar

Hana Al-Saadi’s sculpture of a ballerina wearing an abaya raises questions about the objectification of women for the viewer. This work is an extension of a piece of performance art that Hana Al-Saadi created on the Doha Corniche, where she wore a tutu over her abaya while walking to test the reaction of the audience. Through this provocative approach, presenting the unusual in the collective culture, she tried to discover the negative and positive responses of those watching, and she also wanted to create a space for discussion, which would go beyond the event or the work, to contribute to a deeper understanding of the transformations of the society and its culture.
Hana AI-Saadi, 'Hmmm ...', Resin, 2017, ©Raviv Cohen, VCUarts Qatar

What I saw, What I sketched, What I sent, What I shared, What you received, What you touched, What you felt, What they saw through the screen, What they liked, What they double tapped. From a sketch, to a card, to warm greetings towards the ones in the distance.
Dhika Khaira in front of her installation 'Tangible, Intangible', Digital print on card paper, A5 postcards, A6 postcards and moleskin journal, 2017, ©Raviv Cohen, VCUarts Qatar

Dhika Khaira, 'Tangible, Intangible (detail)', Digital print on card paper, A5 postcards, A6 postcards and moleskin journal, 2017, ©Raviv Cohen, VCUarts Qatar

This piece is part of a series of drawings that explore womanism, the personal and the public, and cultural politics.
Fatma Al-Remaihi, 'Eruption (An Ode to Drawing)', Ballpoint pen on paper, 2017 ©Raviv Cohen, VCUarts Qatar

A race car driver who was involved in a crash.
Ahood Al Dafa, 'In the Moment of Crash ', Digital rendering, painting, photo bashing 6000 x 3336 pixels, 2016, ©Raviv Cohen, VCUarts Qatar

The first man-made island in the Arabian Gulf, Green Island, was inaugurated in 1988 in the state of Kuwait. The aerial view of the island recalls Greek historian and geographer Hecataeus of Miletus’ early map of the world. The piece is printed on acrylic and divided into four separate layers. The first layer represents the contour of the island, the second holds the architectural structures, and the third contains elements added to the island for visitors to use. The fourth and final layer is the designer’s projection of the triathlon course. The metal connector holding the layers together allows users to spin and see each individual layer. When the layers are all spread out, the composition resembles the view of the world from outer space.
Faisal Mohammad, 'Mapping a Renewed Interest in Green Island', Graphics printed on acrylic, mounted on particleboard, 2017 ©Raviv Cohen, VCUarts Qatar

This bowl is made of glass with a stand that works in a variety of positions. The bowl could be closed, or could be standing on the tall stand, on the short stand, or be opened to have two bowls. This is a metaphor for giving in all dimensions.
Aisha Al-Sowaidi, 'All Ways Giving Bowl', Glass, 2017, ©Raviv Cohen, VCUarts Qatar

Aisha Al-Sowaidi, 'All Ways Giving Bowl', Glass, 2017, ©Raviv Cohen, VCUarts Qatar

This 3D-scanned/printed sculpture contrasts the concept of man and machine-made imperfect constructions, with God’s perfect creations. Portraying in size, color, and reflection the replacement of one’s love and devotion to Allah, by one’s love centered on the self, this piece showcases the derived relationship between a Muslim’s vanity and the divine. The original artwork delivers a potent yet controversial message that one’s vanity can distract and consume one’s devotion to Allah.
Othman M. R. Khunji, 'Religious Vanity II', 3D printed ABS plastic, marble, reflective stainless steel, ©Raviv Cohen, VCUarts Qatar

The Hiya Biya is celebrated the night before Eid Al Adha, which is a one of our main religious occurrences in Islam. It was a night that was generally celebrated by children. At the start of the month of Thil Hija in the Islamic calendar, children would fill their baskets with soil and plant them with barley grains, wheat or garden cress seeds. They traditionally would all gather the evening before Eid with their friends, relatives and neighbors along the seaside, to take part in this beautiful cultural tradition, while repeating the Hiya Biya song.
Bouthayna AI-Muftah 'Golden Past (detail)', Mixed media', 2017, ©Raviv Cohen, VCUarts Qatar

Bouthayna AI-Muftah 'Golden Past (detail)', Mixed media', 2017, ©Raviv Cohen, VCUarts Qatar

A myth involving and/or representing a society.
Assil Diab, 'Mythopoeic I & II', Oil and acrylic on canvas, 2017, ©Raviv Cohen, VCUarts Qatar

Daily diaries from July that include events, thoughts and reactions are documented by the artist in a visual representation. The happenings are visually translated to be kept or shared to open discussions.
Hadeer Omar, 'July Visual Diaries', Illustrations on paper, 2017 ©Raviv Cohen, VCUarts Qatar

56 cm gen•er•a•tive de•sign adjective: generative design Generative design is a form finding process that can mimic nature's evolutionary approach to design tri•an•gu•la•tion noun: triangulation formation of or division into triangles. A series of table forms applying generative design using triangulation of form and repetition to transform a 2D pattern to a 3D function furniture. For this series the table was the ou tcome of experimentation with the triangulation of the algorithm to create different forms.
Reem Al-Thani, 'Triangulation Polygon Table', Plywood, 2017, ©Raviv Cohen, VCUarts Qatar

Reem Al-Thani in front of her design tables at the opening reception, ©Raviv Cohen, VCUarts Qatar

Reem Al-Thani, 'Triangulation Polygon Table', 'Triangulation of a Divisible Form Table', 'Reclaimed Triangulation Table' 2017, ©Raviv Cohen, VCUarts Qatar

Naila AI-Thani 'Ndebele 1, 2 & 3', Fabric, 2015, ©Raviv Cohen, VCUarts Qatar

The garments have been directly inspired by the Ndebele tribe of South Africa, mimicking the proportion and straight edge of their artistic characteristic. The artful skills of using these geometric prints and colours within the tribe is passed down from mother to daughter. The garments are a ready-to-wear modern-day twist on the traditional nguba wedding blankets worn by the women.
Naila AI-Thani 'Ndebele 1, 2 & 3', Fabric, 2015, ©Raviv Cohen, VCUarts Qatar

The artworks shown in this exhibition are part of a color experiment series using Islamic Pattern design. Each pattern constellation is colored using one color palette and replicated in different variations which highlights the effect of color and balance in each composition. Furthermore, the effect of color is emphasized by distinctive color applications ranging from colored pencils, acrylic paint to acrylic glass.
Sahar Mari, 'Experiment 1206, 1207 & 1208', Colored pencils on paper and acrylic paint on paper, 2017, ©Raviv Cohen, VCUarts Qatar

This project seeks to examine the intoxicating allure of social media and how even in the absence of physical or chemical stimuli, this abstract notion can envelop us and invoke a sense of addiction. The artists examine what can come out of giving this virtual unseen enemy a physical form. Using a CNC mold-making technique, the sculpture visually demonstrates the effects of social media on oneself. The final outcome is an ethereal fossilized realization of the extensive procedure of how social media addiction is threatening human health.
Abdul Rahman Anwar & Mohammad Jawad, 'Sand, Send, Sent', Sand and water, 2017, ©Raviv Cohen, VCUarts Qatar

Each artist is illustrated in an approach that resembles the art style they pursued. Personifying artwork into portraits of the artists gives the style of work its own character and presence.
Wurood Ismail Azzam, 'Art& Co', Pen on paper, 2016, ©Raviv Cohen, VCUarts Qatar

Painting depicts portrait of a Lamassu creature resting in peace. The painting is atmospheric, like having the portrait of the creature float in the endless void of serenity. Freed from all the disaster and destruction happening in his home land. The piece relates to the destruction of artifacts, such as the Lamassu statues in Iraq. In the painting, the creature is at ease, not concerned about the people who destroyed him, because the value of this creature’s legacy will always live on no matter what happens.
Sumam Ismail Azzam, 'Easier to Fly', Acrylic on canvas, 2017, ©Raviv Cohen, VCUarts Qatar