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<channel>
	<title>Eman Ali</title>
	<link>https://emanali.com</link>
	<description>Eman Ali</description>
	<pubDate>Sat, 11 Jul 2026 09:18:56 +0000</pubDate>
	<generator>https://emanali.com</generator>
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		<title>The Right To Wonder</title>
				
		<link>https://emanali.com/The-Right-To-Wonder</link>

		<pubDate>Mon, 09 Mar 2026 06:41:13 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

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	The Right to Wonder (2026)Black velvet, sea salt from Qurrayat, Oman,
 internally illuminated curved table (400 × 50 cm)

Commissioned by the Media Majlis Museum, Northwestern University in Qatar, for the exhibition What's Between, Between? (Spring 2026).
The Right to Wonder was inspired by the community stargazing events organized by Palestinian astrophysicist Dr. Suleiman Baraka in Gaza. By inviting children and families to observe the night sky, these gatherings created moments of curiosity and shared learning in the midst of conflict.
Rather than depicting war itself, the installation reflects on what it takes away: imagination, freedom, and the simple act of looking toward the sky. It responds to a reality in which a telescope can be treated as a threat rather than an instrument of curiosity.

	Within an enclosed, darkened space, Ali uses sea salt collected from Qurrayat, Oman, to form a constellation across an internally illuminated curved table. Carrying traces of both sea and body, the salt renders an image of the sky on the ground. Drawing on stars in Islamic cosmology as signs of guidance and divine presence, the installation reflects on childhood, absence and the right to dream.

A small platform invites visitors to adopt the posture of someone looking through a telescope. Rather than looking upwards, they look down at a constellation extending infinitely through reflection. This juxtaposition of infinity and confinement considers what it means when the freedom to look up is denied, framing imagination not as an escape from reality, but as something worth protecting.



An accompanying essay by Dr. Suleiman Baraka for ‘The Right to Wonder’ can be read here.

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		<title>Photos a'la Chair &#124; Edition 30</title>
				
		<link>https://emanali.com/Photos-a-la-Chair-Edition-30</link>

		<pubDate>Sat, 11 Jul 2026 09:18:56 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

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Venus of KarbabadCreated for Photos à la Chair, 30th Edition

Bahrain, November 2025

Photos à la Chair is a community photography project in Bahrain by Camille Zakharia and Ali Karimi. Each winter, an invited artist selects a location around the island and creates a temporary installation where members of the public are photographed.

For the 30th edition, I was invited to create a new installation. I chose a quad bike track by Karbabad Beach, one of my favourite spots in Bahrain. I've always been drawn to places like this that feel slightly strange, a little improvised, and somehow in between. It sits between the sea and the skyline of Seef, and feels like a part of Bahrain that's slowly disappearing.&#38;nbsp;


	















Much of my practice is concerned with small disruptions that shift our sense of what is real. I'm interested in the strangeness that hides in plain sight, when something familiar begins to feel slightly off. This installation continues that exploration.As of 2026, the quad bike track has been removed.





	
	
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		<title>Fever Shape</title>
				
		<link>https://emanali.com/Fever-Shape</link>

		<pubDate>Tue, 25 Mar 2025 08:08:30 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

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	Fever Shape (2025)

Commissioned by the Bahrain Authority for Culture and Antiquities for the Kingdom of Bahrain's National Participation at the 19th Venice Architecture Biennale.&#38;nbsp;Winner of the Golden Lion for Best National Participation.
Heatwave is the Bahrain Pavilion’s exhibition at the 19th&#38;nbsp;Venice Architecture Biennale.&#38;nbsp;Curated and designed by Andrea Faraguna and commissioned by Shaikh Khalifa bin Ahmed bin Abdullah Al Khalifa President of the Bahrain Authority for Culture and Antiquities, the exhibition is an urgent response to the challenge of extreme heat we are facing here in the Gulf, but also globally, with a beautiful and innovative installation design for outdoor workspaces that uses traditional cooling techniques inspired by Bahrain’s climate and culture.
	
My visual essay Fever Shape responds to the theme in a way that’s meant to be felt, not just seen. I wasn’t just thinking about the physical toll of heat on the body and the land, but also its psychological impact. I wanted to understand heat as more than just temperature and more like pressure. A slow, constant force that distorts things, that transforms and erodes. So, I listened to the island. I read its softness, its residue, its scars. I wanted to capture erosion. Not just of surfaces, but of memory too and of presence worn thin by light, time, and extreme heat. The essay unfolds from two opposite starting points, mimicking the feeling of heat intensifying and then washing out everything, eventually converging at a central image. It’s a visual narrative that speaks to the mythology of heat and disappearance.A selection of the work is shown here.

Heatwave publication, designed by Larissa Kasper, Rosario Florio and Samuel BaenzigerDeputy Commissioner: Noura Al SayehPavilion Coordinator: Batool Al ShaikhExhibition Contributors: Wafa Al Ghatam,&#38;nbsp;Maitham Al Mubarak,&#38;nbsp;Mohammed Salim,&#38;nbsp;Laila Al Shaikh,&#38;nbsp;Abdullah Janahi, Alexander Puzrin,&#38;nbsp;Mario Monott&#38;nbsp;and myself.
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		<title>Elsewhere</title>
				
		<link>https://emanali.com/Elsewhere</link>

		<pubDate>Mon, 13 Mar 2023 08:53:04 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/Elsewhere</guid>

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Elsewhere (2023-2024), Protea Futures (2025)

Elsewhere debuted at Investec Cape Town Art Fair in the SOLO/PLAYSCAPES section, curated by Céline Seror.


This year’s SOLO section, PLAYSCAPES: Shaping Worlds and Selves, explores the transformative power of play—how it shapes our understanding of ourselves, our histories, and the worlds we create. Selected from an international roster of galleries, Ali’s work embodies this theme through her bold experimentation and poetic inquiry into change, loss, and hope.











In ‘Elsewhere’, Eman Ali conjures a poetic topography where bodies have morphed, mutated, and endured amidst ecological instability and shifting human boundaries. Drawing from the languages of climate fiction, and engaging artificial intelligence as a collaborator, Ali constructs a visual terrain that mirrors our present estrangement from land, climate, and self. 


Throughout literature and cinema, imagined worlds have long served as sites of resistance, refuge, and reinvention and yet in contemporary visual art, this speculative impulse remains comparatively under explored. In ‘Elsewhere’, Ali leans into this lineage, using AI not as an end in itself, but as a tool to give visual form to a deeply personal and cultural imaginary. The collaboration with AI is neither about technological novelty nor about surrendering authorship; it is a poetic extension of Ali’s practice, in which she trains and retrains models on personal archival material, textures, and gestures specific to her environment and cultural lexicon. The machine becomes a vessel charged with memory, and capable of shaping visual worlds that otherwise couldn’t exist.The figures that populate ‘Elsewhere’ emerge from dreamlike, eroded landscapes. They are ambiguous and hybrid, jellyfish-like, fire-adapted, amphibian survivors, shaped by their environments as much as by internal mutations. In this, Ali’s work resonates with the visionary legacy of Octavia E. Butler, whose prophetic novels such as Parable of the Sower imagined a near-future shaped by climate collapse, migration, and spiritual reinvention. Like Butler, Ali explores survival as a generative act, rooted not in technological mastery, but in the capacity to reimagine the self in relation to the environment. Her subjects do not dominate the landscape; they merge with it, hover within it, or dissolve into it. They embody what Butler called“Earthseed”: a belief system in which adaptability is the only lasting truth.


	



























The images unfold like stills from an unmade film, recalling the aesthetics of Dune, Frank Herbert’s seminal eco-fiction, where arid deserts become sites of resistance, prophecy, and ecological sentience. But while Dune constructs an epic vision of survival, Ali’s images are intimate, elliptical, and resistant to narrative closure. They speak not of conquest, but of uncertainty and the fragile entanglement between body, resources, and terrain. Ali’s process stems from a need to translate the ineffable: to create not literal representations but emotional landscapes that capture the strangeness, fragility, and resilience of our time. The truth embedded in these synthetic images is not factual, but felt. As she herself reflects, ‘Elsewhere’ is born of the ache for softness and relief in a world that often feels too sharp, too heavy. The work is cinematic not only in aesthetic but in atmosphere: a shimmering, melancholic threshold where desire becomes an engine for meaning.


Ali’s work resonates with what cultural theorist Mark Bould describes as “the Anthropocene unconscious”, which is an ambient awareness of ecological catastrophe that permeates contemporary culture, often without direct reference. Her glowing figures and suspended moments reflect an affective state of dislocation, where the environment becomes not just a setting but a psychological force. Yet unlike apocalyptic narratives driven by collapse, ‘Elsewhere’ gestures toward a different horizon: one in which spiritual attunement and ecological sensitivity replace domination and extraction.
In a region where climate change is not a distant threat but a lived reality, Ali’s visual meditation offers a necessary estrangement, an “elsewhere” from which to reimagine belonging, kinship, and planetary futures. The exhibition moves beyond the logic of representation to offer a landscape of feelings, an eerie yet intimate terrain where language dissolves, and dream takes over. 




-&#38;nbsp;










Océane Sailly&#38;nbsp;






	

	




</description>
		
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	<item>
		<title>In Praise of Silence </title>
				
		<link>https://emanali.com/In-Praise-of-Silence</link>

		<pubDate>Sun, 08 Dec 2024 05:16:46 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/In-Praise-of-Silence</guid>

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Open Studio&#38;nbsp;


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In Praise of Silence (2024)
During my residency at Tokyo Arts and Space, I found myself overwhelmed by the relentless pace of the city. The neon lights, the chaos of the subway, the constant motion of people and the overwhelming noise - it all felt like too much. But in the chaos, I started noticing the quiet moments: the shadow of a temple, the stillness of a footbridge, an empty arcade glowing faintly at dawn. These spaces felt like thresholds, places where time softened and stretched, allowing for pause in a city that rarely stops.

Inspired by Japanese myths like Amaterasu’s retreat into darkness and the writer Jun’ichirō Tanizaki’s In Praise of Shadows, I began photographing strangers navigating their own in-between spaces. Many of them challenged traditional ideas of Japanese identity - being half Japanese, defying conventional ideas of self, or questioning established gender roles - and carried with them a sense of transition. Their presence felt like a reflection of the city itself, caught between tradition and modernity, solitude and connection.
The concept of chinmoku (沈黙), a silence full of potential and possibility, became central to my work. The photographs were hand-printed in the darkroom, their imperfections becoming part of the work. I layered handwritten fragments from the people in the photos - memories, hesitations, dreams - into the images, creating echoes of their inner lives. These portraits aren’t meant to explain; they hold space for what’s unsaid, for the tension and beauty of the unfinished.

I printed some of the work on Japanese byōbu folding screens I designed with the oldest family-run workshop in Tokyo, the layers and shadows evoking the themes of the project. Sculptural objects meant to be moved through, their story unfolding slowly in space. It wasn’t just about looking at photographs, but about experiencing their presence - how they shape both space and time.

Supported by Wijhat Grant.


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	</item>
		
		
	<item>
		<title>Utendi</title>
				
		<link>https://emanali.com/Utendi</link>

		<pubDate>Mon, 17 Feb 2020 15:40:12 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/Utendi</guid>

		<description>
	
	



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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b373ba665159b124022c4d2ef757e11528ef239ce251536c986d40a3f32a681f/EmanAli-Utendi-install-5.jpg" data-mid="63270771" border="0"  src="https://freight.cargo.site/w/1000/i/b373ba665159b124022c4d2ef757e11528ef239ce251536c986d40a3f32a681f/EmanAli-Utendi-install-5.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8f1d2ee9d9cd7bc53003b7bdcbf1c2629fdedc1f38f38d6fd0be1047d2012208/EmanAli-Utendi-install-6.jpg" data-mid="63270773" border="0"  src="https://freight.cargo.site/w/1000/i/8f1d2ee9d9cd7bc53003b7bdcbf1c2629fdedc1f38f38d6fd0be1047d2012208/EmanAli-Utendi-install-6.jpg" /&#62;

 &#38;nbsp;Utendi
50 Golborne Gallery, London













































In Utendi, I’m diving into the world of Swahili heritage through the lens of Utendi wa Mwana Manga, a poem that carries the spirit of Fumo Liyongo. This led me to Lamu, an island on Kenya’s northern coast, where Swahili culture - shaped by centuries of exchange between Arab, Persian, and East African worlds - remains beautifully intact. It was here that I began my exploration of the feminine presence in this ancient civilization, focusing on how it has been represented and its enduring power.


There’s a haunting familiarity to this exploration, a feeling that connects deeply with my own Omani roots and the shared history between Oman and East Africa. Since my first visit in 2018, Lamu has felt like a return to a place I’ve always known.






There’s a sensuality in Liyongo’s words that I’m drawn to, a beauty in how it resonates with the physicality of the world around me. I’m capturing not just symbols, but a deeper connection between these women, their culture, and the spaces they inhabit. The preserved Swahili architecture becomes a backdrop, a canvas that holds their stories, their strength, their mysteries.
This project includes a series of photographs and sculptures, and I’m planning to bring all my research and artwork together in a book.

Works for sale on&#38;nbsp;Artsy



</description>
		
	</item>
		
		
	<item>
		<title>Banat Al Fi'9a (The Silver Girls)</title>
				
		<link>https://emanali.com/Banat-Al-Fi-9a-The-Silver-Girls</link>

		<pubDate>Tue, 31 Jan 2023 11:09:24 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/Banat-Al-Fi-9a-The-Silver-Girls</guid>

		<description>
	


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	Banat Al Fi'9a (The Silver Girls), 2022-2023
Created between late 2022 and early 2023, "Banat Al Fi'9a (The Silver Girls)"&#38;nbsp; transports us to an imaginary world where two young women challenge the oppressive rule of the late Sultan Said bin Taimur and cultural norms of their time in 1960s Oman. The visual series captures the era referred to as the "dark ages," when modern developments and objects such as radios, bicycles, and sunglasses were banned.
The two 










protagonists embark on a surreal journey through the country, a time when travel itself was a challenge. Despite the obstacles, they move with grace and fierce determination, engaging in activities that transcend the conventional expectations for women of their era. Their artistic expressions are set free, and they chase their dreams with an intense passion that permeates the narrative with a dreamlike quality.&#38;nbsp;As the story unfolds, we are transported into a world where the traditional silver jewelry of Omani culture takes on new life. The silver is reimagined as a retro-futuristic material, coating the daily activities of the two women and symbolizing the liberation that women would come to experience in the future.

 
	

Eman Ali brings "Banat Al Fi'9a (The Silver Girls)" to life through a series of images created using early AI technology. The visible artifacts and imperfections in the work act as a timestamp, reflecting the capabilities of the AI tools at that particular moment in time. Banat Al Fi'9a (The Silver Girls) is a narrative that delves into themes of freedom and the resilience of the human spirit, as experienced through the eyes of two young Omani women who dare to dream.
Banat Al Fi'9a is a translation of ‘The Silver Girls’ into Arabizi/Arabish, a form of digital communication used in the Arab world where Latin letters and numbers are used in lieu of the Arabic alphabet.


Selected works available on Artsy.
Interview: Fish Eye Magazine, Part 1 &#38;amp; Part 2
</description>
		
	</item>
		
		
	<item>
		<title>The Earth Would Die If The Sun Stopped Kissing Her</title>
				
		<link>https://emanali.com/The-Earth-Would-Die-If-The-Sun-Stopped-Kissing-Her</link>

		<pubDate>Fri, 16 Sep 2022 07:37:57 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/The-Earth-Would-Die-If-The-Sun-Stopped-Kissing-Her</guid>

		<description>
	
	

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	The Earth Would Die If The Sun Stopped Kissing Her (2022)











This work began with a feeling. One I couldn’t name, only follow.



I had returned to Oman during the pandemic - drawn by a need to reconnect with the land that shaped me. There was something in the way the light fell on places that didn’t ask to be photographed. Something about the loneliness inside beauty..

I spent my time moving between the blinding generosity of the sun and the difficult, lunar mystery of the dark. The earth here offers no advice, no map. Only its own vast, unmoving time and its silence. That slow breath was the only thing I could hold onto in those strange, uncertain days.

In that stillness, I started seeing the tiny, unsaid language of the world: the way the last light falls on a face, how silence settles into the walls of a room. These photographs are not grand narratives. They are more like fragments. Moments that feel almost unreal but aren’t. The work moves between daylight and darkness, between what we show and what we hide. It’s about how we relate to land, to longing, to the people who pass through our lives like seasons.




	Most of the images were taken in Oman, with a few intimate portraits from Bahrain and the UAE. I was searching for what remains. The trace. The residue. The warmth left on a wall long after the sun has set. This is a project about intimacy and about finding it in a post-pandemic world. It’s about the way we carry places inside us, and the way those places carry us back.

It’s a love letter to my homeland.And an elegy.

Because to live is to move between light and shadow - and to keep going,even when you’re not sure what you're moving toward.A collection of 100 images.


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	<item>
		<title>Succession</title>
				
		<link>https://emanali.com/Succession</link>

		<pubDate>Mon, 17 Feb 2020 15:40:11 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/Succession</guid>

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Succession (2019)






















In Succession, I explore Oman’s modern history through the lens of the archive - examining what it preserves, what it omits, and the silences it leaves behind.&#38;nbsp; The images for this project come from a quarterly newsletter titled Oman, published by the Embassy of the Sultanate in the United Kingdom between 1973 and the 1980s - a collection carefully preserved by my father. This publication aimed to present Oman to the West as a modern, stable, and economically prosperous nation, carefully crafting a narrative of progress under the rule of Sultan Qaboos bin Said. It was both a tool of diplomacy and an artifact of a nation in the process of reshaping its identity.


I focus on the early years of Sultan Qaboos’s rule, a period of great transformation and reinvention. These years raise questions about power, memory, and history - questions that compel me because they expose the slippery, constructed nature of the past. The photobook I created is not a straightforward documentation of this era. Instead, it is a sequence of iPhone images, carefully altered and reimagined into something more akin to a dream than a record. These images do not clarify or explain; they hover in ambiguity, evoking a sense of history that is layered, fluid, and alive. Through them, I explore what it means to frame a moment, a place, or a nation - and to call that frame truth.


Oman’s long period of isolation before 1970 looms large in this work. For much of its history, the country was shrouded in mystery, its narratives often constructed by external observers. With Succession, I confront this legacy - not by attempting to fill the gaps left by the colonial gaze but by sitting with those gaps, interrogating their silences and contradictions. The archive is not a static repository of truth; it is a dynamic space of negotiation, shaped by power and perception.


In an era of political uncertainty and instability, I find myself drawn to the concept of impermanence. National identity, to me, is not fixed; it is fragile, ever-shifting, and shaped by forces both visible and invisible. Succession is not an attempt to provide answers or definitive narratives. Instead, it is a space for contemplation - a way to engage with what lingers and what fades, and to confront the tension between the two.








This book has been commissioned by Ffotogallery on the occasion of the exhibition 'The Place I Call Home', curated by David Drake, for the British Council. The exhibition has toured the UK and the GCC.Book available&#38;nbsp;here.
Released on December 2, 201921 x 29.7 cmSoftcover160 pagesPrinted by CassochromeEdited by Eman Ali
Designed by Villalba Lawson &#38;amp; Eman Ali
Design assistant Costas KalogeropoulosEdition of 300ISBN 978-1-872771-47-2
London stockistsThe Photographers' GalleryThe Mosaic RoomsAl Saqi Bookshop
Public Libraries
The British Library - UK
Arts Library Special Collections, Yale University - USA
Fondation H - Madagascar
Reviews
GUP Magazine
PhotomonitorPublications
Photobooks &#38;amp;

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	<item>
		<title>Rose Mountain</title>
				
		<link>https://emanali.com/Rose-Mountain</link>

		<pubDate>Wed, 31 May 2023 10:53:50 +0000</pubDate>

		<dc:creator>Eman Ali</dc:creator>

		<guid isPermaLink="true">https://emanali.com/Rose-Mountain</guid>

		<description>
	


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	Rose Mountain (2023)
Commissioned by the Institut de monde arabe for their autumn 2023 exhibition ‘Parfums d’Orient.’


‘Rose Mountain’ offers a tender glimpse into the lives of rose pickers in Jabel al Akhdar, Oman. As spring arrives, the mountains of Jebel Akhdar are adorned in hues of pink announcing the start of the harvest season. In this photographic series, I aim to show the engagement of the younger generation in the timeless practice of rose picking, carrying forward ancestral traditions passed down by their fathers.&#38;nbsp; Furthermore, I want to reveal the often unseen presence of women who labor alongside men, granting them the visibility they rightfully deserve. In the mountain's embrace, men and women unite with nature, fostering a deep connection to the land—a testament to our inseparable bond with the earth.








	
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