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Khoory, and Marwan Sharaf employ artificial intelligence to revive and reconstruct lost
memories in ‘Epochs of Memories.’ Marwan Sharaf’s ‘Shifting Sands’ presents a generative
digital artwork depicting the movement of sand dunes, while Latifa Saeed’s ‘Dust Devil 1’
captures the phenomenon of an electromagnetic sand tornado through an innovative sensory
experience.

Expanding on the relationship between cultural roots and identity, the house features ‘The Frogs
in the Pond’ by Tala Hammoud Atrouni; ‘O Justice’ by Shamma Ali Al Ameri; and ‘The Dance of
Horizons’ by Khawla Abu Saleh. Dr. Nahed Chakouf’s ‘The Sacred Matrix’ reinterprets Islamic
Muqarnas as a kinetic, ever-evolving structure, while Dr Afra Atiq’s ‘Qaseeda Bela Kalimat (A
Poem Without Words)’ explores the rhythmic essence of Arabic poetry through an interactive
sound-based installation. Materiality and transformation emerge in Salma Hani Ali’s
‘Metamorphic Forms – Study 21,’ a dynamic metal sculpture that shifts through movement,
questioning the fluidity of spatial boundaries.
In an exploration of digital creativity, Amir Suleymani’s ‘What’s Not an NFT?’, challenges the
boundaries of art and ownership in the blockchain era. The exhibition space also features
‘Seeds of Tomorrow’ by Realiity, an augmented reality (AR) experience where a virtual palm tree
emerges, symbolising heritage and innovation in the UAE. Other notable works include ‘Al-
Bariha – The Future of Al-Ayyala’ by Hassan Al-Ali; ‘Pearls of Imperfection,’ ‘Digital Portal to Al
Shindagha's Past’ and ‘Tides of Being’ by Mohamad Al Hamadi and Dr Ahmad AlAttar; ‘Gargoor
El Hayat’ by Dr Afra Atiq and Dr Ahmad AlAttar; ‘Echoes of the Creek’ by Mohammed Alawadhi;
‘Moss-Behaving’ by Realiity; and ‘Emotional Entanglement’ by Omar Alhammadi.

TODA House 349, curated by Evgeniya Romanidi, presents digital artworks exploring the
relationship between individuality, technology, and nature. Among them is ‘A Window to the Sea’
by Chafic Mekawi, which invites viewers to think about Arab identity through the symbolism of a
circle. Ginger Potter’s ‘Flat Reality’ looks at the impact of technology on perception, while his
work ‘Petals’ raises awareness on how we interact with the world and how others perceive us.
Rank SSS, in ‘Home of Nomads’, transports viewers into hidden realms, merging nature and the
digital to create landscapes that transcend conventional perception.

The Khaleeji House 353, curated by Yara Ayoob, focuses on dreams, transformation, and the
interplay between past and future through photography, installations, and sensory experiences.
Alia Bent Sultan, in ‘Dreams of the Era Might Become a Reality We Live’, reflects on how today’s
seniors are seen, blending traditions with modern aspirations. Similarly engaging with change,
Ali Hamad Saeed Huraimil’s ‘Freej Fever Dream’ investigates the impact of artificial intelligence
on artistic creativity. Hadeel Ahmed Alshalan’s ‘Tasteless’ explores the evolution of birthday
celebrations in the Gulf, while Hamed Alharthy’s ‘Zombie 1 & 2’ critiques the monotony of
middle-class life. In ‘The Dialectic of Transformation,’ Khadija Ahmed addresses the concept of
change through the symbolism of fish. Lamya Issa, Shaikha Al Matrooshi, and Anoud Alamri’s
collaborative work ‘Shu Mswti? ‘examines overthinking and the blurred boundaries between
dreams and waking life. The exhibition also features ‘Dreaming Over the Hills’ by Latifa Al
Awadhi; ‘Notifiactionssss’ by Mahmood Sharif; ‘Dreams in the Wash’ by Sard - Mujahid Almalki;
‘Legends in Metal’ by Noor N. Alali; ‘A7lam Al3a9r on the Uke’ by Rataj Khajah; and a virtual
animated mural by Mariam Alobeidli.

House 436 - The House On A Two-Way Street celebrates the diversity of art and creative
experiences, bridging past and present. Aisha Al Hammadi’s ‘Emergence’ reinterprets Islamic
geometric patterns within contemporary art, gradually disintegrating them to balance between

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