Sara Abdu
Gate To Salvation, 2017
Black ink on paper
SAB0108
Daniah Al Saleh
Face Off, 2017
Emulsion, watercolor, and Pencil on Paper
DAS0028
Nasser Al Salem
Zamzam, 2010
Embossed with Silk Screen on paper, hand painted with Gold Leaf
Edition of 3 + 1 AP / Edition of 20 + 2 AP, Acquired by The British Museum, London
NAS0061
Moath Alofi
The Last Tashahhud III, 2017
Acrylic / prints on lightbox
MAO0040
Moath Alofi
The Last Tashahhud X, 2017
Acrylic / prints on lightbox
MAO0054
Moath Alofi
The Last Tashahhud XII, 2017
Acrylic / prints on lightbox
MAO0058
Moath Alofi
The Last Tashahhud XIII, 2017
Acrylic / prints on lightbox
MAO0077
Moath Alofi
The Last Tashahhud XV, 2017
Acrylic / prints on lightbox
MAO0081
Dana Awartani
Alif from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0130
Dana Awartani
Ba from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0131
Dana Awartani
Dal from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0133
Dana Awartani
Ha from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0134
Dana Awartani
Haa from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0137
Dana Awartani
Jeem from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0132
Dana Awartani
Untitled, 2017
Guache and shell gold on paper (8 Panels)
DAN0124
Dana Awartani
Waw from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0135
Dana Awartani
Za from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0136
Aya Haidar
Aleppo is worse than anything. Damascus is better; from the Dear Mum series, 2017
Postcard
AYH0081
Aya Haidar
Cairo is falling apart, there is no live; from the Dear Mum series, 2017
Postcard
AYH0080
Aya Haidar
Did not see much love; from the Dear Mum series, 2017
Postcard
AYH0084
Aya Haidar
Not many walk in Jeddah; from the Dear Mum series, 2017
Postcard
AYH0082
Aya Haidar
Petra was imagined; from the Dear Mum series, 2017
Postcard
AYH0083
Ahmed Mater
The Return, 2015
Diptych, Print on fine art paper
100 x 150 cm (39 5/16 x 59 in.)
Edition of 5, From the Desert of Pharan series
AHM0320
Mohamed Monaiseer
Untitled 05 from Barzakh series, 2017
Painting
MM0006
Mohamed Monaiseer
Untitled 06 from Barzakh series, 2017
Painting
MM0007
Muhannad Shono
2003 Al-Hamra Compound Attack, Riyadh, Saudi Arabia from the series Return to Sender, 2017
Ink on Paper
MSH0053
Muhannad Shono
2005 Killing of Moustapha Akkad, His Daughter and 58 Other People, Amman, Jordan from the series Return to Sender, 2017
Ink on Paper
MSH0054
Muhannad Shono
2013 Sana'a Attack, Al-Oraidi Hospital Sana'a Yemen from the series Return to Sender, 2017
Ink on Paper
MSH0055
Muhannad Shono
2014 Death of Aitzaz Hassan_Government High School_Hangu District, Pakistan_from the series Return to Sender, 2017
Ink on Paper
MSH0056
Muhannad Shono
2015 Killing of Avijit Roy, Ekushe Book Fair, Dhaka, Bangladesh from the series Return to Sender, 2017
Ink on Paper
MSH0057
Muhannad Shono
2015 Sousse Attacks, Riu Imperial Marhaba and Soviva, Port El Kantaoui,Sousse, Tunisia from the series Return to Sender, 2017
Ink on Paper
MSH0058
Muhannad Shono
2016 Deir ez-Zor Massacre Deir ez-Zor, Syria from the series Return to Sender, 2017
Ink on Paper
MSH0059
Muhannad Shono
2016 Nice Attack_Promenade des Anglaise_Nice, France from the series Return to Sender, 2017
Ink on Paper
MSH0060
Muhannad Shono
2017 Manchester Arena Bombing Manchester England from the series Return to Sender, 2017
Ink on Paper
MSH0061
Saddek Wasil
Brick IX, 2016
Demolished bricks and recycled metal
54 x 42 x 22 cm
SAW0167
Saddek Wasil
Brick VII, 2016
Demolished bricks and recycled metal
65 x 35 x 16 cm
SAW0165
Zamzam is a calligraphic representation of the word ‘zamzam’, a miraculously generated source of water from God. The composition is significant to the holistic symbolic meaning of the piece. The word is designed to be read from left to right, right to left, up to down and down to up, echoing universal ways of reading. Such flow in the direction of this also depicts Hajar pacing between Safa and Marwa in order to find the source of the holy zamzam water. It also represents the angel Gabriel’s large wingspan, who was responsible for indicating to Hajar where to stomp her foot in order to reveal the source. At the heart of the print lies an intricately designed and manipulated 8-point star; this is where God is believed to rest upon his throne. According to Islamic tradition, the 8-point star is also a sign for infinity, which coincidentally, is also the general shape this piece has formed, implying Islam’s everlasting and unbreakable cycle.
Zamzam has been acquired by The British Museum in 2011.
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