Hassan Sharif
The Emergence of Conceptual Art in the UAE
During the 1970s and 1980s, artistic practice in the UAE began expanding beyond painting and formal modernism. Among the central figures in this shift was Hassan Sharif, whose experimental approach helped expand conversations around materials, process, and artistic practice in the UAE.
After studying in London during the late 1970s, Sharif returned to the UAE with an interest in conceptual art, performance, and experimentation. His practice challenged conventional ideas of what an artwork could be, moving away from representation alone and toward process, labour, and the use of everyday materials.
Pouches, 2016, Pouches, cotton rope and corrugated card, Courtesy Gallery Isabelle
Sharif became known for working with inexpensive and ordinary materials, including rope, cloth, cardboard, sandals, wire, and plastic objects. These materials were often tied, woven, bundled, or layered through labour-intensive processes, turning familiar objects into sculptural forms.
Rather than treating art as a polished or purely decorative object, Sharif emphasized time, making, and physical engagement. His works often transformed common consumer materials into dense arrangements that reflected, indirectly, the rapidly changing social and material landscape of the UAE.
Venus and Fish No. 3, 2009, Acrylic on paper, Courtesy Gallery Isabelle
Sharif’s practice emerged during a period of rapid urban and economic transformation in the UAE. His work introduced experimental approaches that differed from dominant artistic traditions centered primarily around painting, opening space for performance, installation, and conceptual practice.
Beyond his own work, Sharif also played an important role in shaping the UAE’s contemporary art scene through teaching, mentorship, writing, and collaboration with younger artists. Today, he is regarded as one of the key figures associated with the development of conceptual and experimental art in the UAE.
Writing, 1983, Photographs, ink on paper and pencil on mounting board, Courtesy Gallery Isabelle
Writing copyright of Naso Art Journal.
