An interesting joint exhibition by two talented Omani female artists – Sarab – was inaugurated last evening by Dr Rahma bint Ibrahim al Mahrouqi, Minister of Higher Education, Research and Innovation, at The Walk, Al Mouj Muscat. “The exhibition space itself is part of the narrative, dissolving the boundaries between presence and absence, illusion and reality,” says Rasmia al Zadjali, curator of the exhibition

When you walk into the intriguingly-styled exhibition space at The Walk, in Al Mouj Muscat, for this new exhibition, the first thing that hits you is the mystical, unconventional, aura that abounds within… And as you move ahead, unsuccessfully attempting to let your goosebumps subside, you soon discover that the exhibits on display begin to speak… in distinct terms to each viewer!

“SARAB is a meditation on impermanence, longing, and illusion. It is less a search for resolution and more an invitation into a space of reflection and inquiry,” disclosed Rasmia al Zadjali, the founder of Rasma Art and curator of the exhibition. The exhibition explores the tension between desire and unattainability, and delves into the emotional and psychological impact of longing, questioning whether the chase itself holds meaning or if we are forever bound to an unfulfilled yearning, she explained.

Rasmia al Zadjali, curator

The exhibition, featuring the works of Khadija al Maamari and Hajer al Harrasi, “invites the audience to confront the ways in which absence shapes presence, how distance mutates into estrangement, and how our pursuit of the unreachable defines our experience,” Rasmia explained, adding, “The exhibition space itself is part of the narrative, dissolving the boundaries between presence and absence, illusion and reality. Like shifting sands, SARAB reminds us that the harder we try to hold onto desire, the more elusive it becomes.”

She further disclosed that Khadija and Hajer approached them with bodies of work that, while distinct in medium and style, spoke powerfully to the themes that they were beginning to explore – memory, distance, transformation, and the tension between presence and absence.

“From the outset, it was clear that their practices shared a sensitivity – questions about longing, identity, belonging and the chase of the unattainable. It was especially energising to see emerging Omani artists not only finding strong individual voices, but also pushing the conversation forward — opening new possibilities for creative expression and deeper cultural engagement,” Rasmia asserted, adding “SARAB became the natural space for a dialogue to unfold. Not necessarily to merge their works but to allow the nuances they explore to evolve side by side.”

Curating SARAB required a delicate balance, respecting the independent voices of each artist while creating a cohesive experiential narrative. The approach was to heighten the emotional and physical experience where the ground itself becomes unstable, perception softens, and visitors are invited to move through an environment shaped as much by what is absent as by what remains.

“The message is not prescriptive. SARAB offers a space for reflection – a place to confront the unending pursuit of what is elusive, and to question whether meaning lies in arrival or in the longing itself. It is a reminder that absence is not an emptiness, but a presence shaped by loss, desire, and memory,” she said.

The exhibition statement cautions the visitor that, ‘in SARAB, nothing is fixed, not even the ground you walk on. Visitors are invited to step into an ever-shifting landscape, where grains of sand slip and reshape beneath their feet, mirroring the ephemeral nature of longing.

‘This multisensorial experience deepens the connection between the artworks and the audience, creating a profound and immersive journey. Like shifting sands, SARAB reminds us that the harder we try to hold onto desire, the more elusive it becomes.’

Shared concept, diverse expression

Khadija al Maamari

Khadija al Maamari is a multidisciplinary Omani artist whose work spans photography, video art, painting, and installation. Her practice, rooted in symbolism and experimentation, explores identity, transformation, and the interplay between external surroundings and inner reflection.

How many artworks are you presenting, and what message do they convey?

I will be presenting four artworks, ranging between installation art and conceptual photography. The works revolve around exploring human contradictions and reflecting on themes of life and death, identity and absence, individuality and collectivity. Altogether, the works invite the viewer to contemplate the fragile boundaries between presence and absence, freedom and conformity.

In ‘Contradictions’, I explore the possibility of coexistence between opposites through a symbolic interplay of movement and stillness. ‘Continuity’ examines time not as a measure of progress but as a witness to fading existence, documented through fish removed from their natural environment. In ‘Assimilation’, I express the internal struggle between maintaining individuality and dissolving into collective identity, highlighting the tension between belonging and losing the self. Finally, ‘Emergence of Life’ offers a philosophical perspective on loss as a gateway to symbolic regeneration, where absence gives rise to new meaning.

In this joint exhibition, did you have the required freedom to express yourself, or did you have to consider the other artist as well?

I enjoyed complete freedom in expressing my artistic vision, while aligning with the overall theme of the exhibition, which served as a flexible framework rather than a restriction. This exhibition features my works alongside those of my close friend, with both of us interpreting a shared concept through our own distinct approaches. Although our works are connected by a common intellectual thread, each artist maintained their individual voice, resulting in a rich diversity that added depth and cohesion to the exhibition without compromising artistic individuality.

As an artist, what is your opinion about the art scene in Oman?

The art scene in Oman is witnessing noticeable growth, with a rising number of exhibitions, cultural initiatives, and increased institutional support for the visual arts. There is a promising generation of young artists eager to explore new creative horizons and push traditional boundaries. However, our artistic journey still requires more consistent support and the establishment of dedicated art institutions that can nurture experimentation, artistic research, and international exposure. Investing in arts education and research-based projects will build a stronger foundation for a dynamic and open artistic environment, empowering Omani artists to express themselves with greater freedom and creativity.

Hajer al Harrasi

Hajer al Harrasi is an Omani visual artist working across oil painting, mixed media, installation, and digital art. Blending traditional and contemporary techniques, her practice examines perception, transformation, and the evolving dialogue between material and digital artistic expression.

How many artworks are you presenting and what message do they convey?

I am presenting four pieces in this exhibition. Each piece delves into the complexities of the body as both a physical and conceptual entity. ‘Between Presence and Absence’ explores the body’s elusive nature, existing in a constant state of flux between the tangible and intangible. It reflects how we project emotions, desires, and memories onto the body, capturing the tension between presence and absence.

‘A Body Returning from Memory’ examines how memory distorts and reshapes the body. It focuses on how the body lingers in our recollections, marked by pain, longing, and loss, and how those memories shape our present selves. ‘Echoes of Memory’ highlights the fragility of memory and its inevitable decay. It conveys the constant transformation of recollections over time, emphasizing how what we remember often fades into something unreachable, a fading presence.

‘My Estranged Bodies’ confronts the idea of the body as a site of displacement, where the self becomes an evolving, fluid entity. The body is depicted as transparent and constantly shifting, reminding us that identity is often defined by what we lose or what slips away. The overarching message of these works is to reflect on the body as both an anchor and a vessel for memory, emotions, and identity, always in a state of transformation and flux.

In this joint exhibition, did you get the required freedom to express yourself or did you have to keep in mind the other artist, too?

This exhibition has allowed me the space to explore my ideas freely and authentically. While there is always an inherent dialogue between artists when exhibiting together, I did not feel restricted in expressing my concepts. In fact, I believe the collaborative environment can enhance the depth of individual works, as it allows for varied perspectives and interpretations. My focus was on the integrity of my own work, and I trust that the audience will appreciate the unique voices that each artist brings to the exhibition.

As an artist, what is your opinion about the art scene in Oman?

The art scene in Oman is evolving, with a growing sense of openness to contemporary practices and new forms of artistic expression. There’s an increasing appreciation for artists who explore deeper, more abstract themes. The support for art in Oman is expanding, but there’s still much room for growth in terms of international recognition and a broader audience. However, the strong local culture and the sense of community among artists here provide a unique and valuable platform for creative exploration, making it an exciting time for art in Oman.