Sara Naim’s (Syrian, b. 1987) third solo show, Rose Tinted, at The Third Line opened in Dubai on 12 May 2022 introducing a new body of work featuring photographs based on utopian scenes that do not entirely correspond with their sculpted forms.

Occupying both the gallery floors, the exhibition scrutinises the tension between the perception of something and its existence. By delving into an ancient dilemma centred on our form or our ‘true’ or ‘authentic’ existence, Naim examines the realities of utopian notions relating to the human tendency to project one’s own vision onto the world resulting to a perception that may be strikingly different from the reality: a metaphor of tinted glasses that alter our vision.

Herein lies the argument Naim attempts to make by analysing how our viewpoints are shaped by our perception and how we rarely regard anything as it genuinely is. Both consciously and unconsciously, we project our expectations, desires and aversions onto our experiences. These habits, in turn, influence our ‘individual narrative’ of truth—if we are to accept the possibility for such a controversial concept, an oxymoronic ‘subjective truth’, to exist. In her quest for answers concerning delusion and reality, Naim draws from Greek philosopher Plato’s Theory of Forms (308 BC)—a seminal work in the realm of theory of knowledge—in which the philosopher contends that all that we witness takes the form of an ideal beyond time and space that can only be accessed by the mind. The physical world, according the Plato, is not as ‘real’ or ‘true’ as timeless, absolute, unchangeable ideas—the physical domain is merely a shadow or an image of the true reality of ideas. 

The exhibition begins with a variety of colliding images on the ground floor, including the communal Table Scene (2021) presenting lemons perched haphazardly atop an uneven bowl, distorted and distended along a dripping tablecloth, and the intimate Bouquet Scene (2021), consisting of a bouquet of six distinct flowers held by a hand that also grasps two tiny blossoms. By enlarging the scale of the bouquet, it embodies an overwhelming expression of love and emotional offering. 

The upper floor is dominated by a sense of déjà vu, as the mind recalls the expectations from downstairs. In Apero Scene (2021), a grazing platter featuring cheese, grapes and wine evokes the excitement of a Parisian feast. 

Each artwork presented at Rose Tinted is divided and united by visible silver screws. With this practice, Naim highlights the isolation of the elements and provides a metaphor to the constructed image. Yet, the back is composed of a singular continuous piece of wood, providing unity among fragmentations. Two sides of visual perception are put into stark relief: the nostalgic aspects of rose-coloured vision clash with the freeing albeit painful truths that can be covered through unbiased observation. Naim’s exhibition illustrates the idea and act of pure observation to achieve a both meaningful and memorable sight, while in reality without being either. 

Sara Naim works between London and Dubai. Her multidisciplinary practice explores the notion and perception of boundary. Naim received an MFA Fine Art Media from The Slade School of Fine Art, London (2014), completed a BA (Hons) Photography from London College of Communication (2010) and an Art Foundation from Chelsea College of Art (2007). Her selected solo shows include: Building Blocks, The Third Line, Dubai, (2019); Reaction, Parafin, London (2018); When Heartstrings Collapse, The Third Line, Dubai (2016); and Heartstrings at Concrete, Hayward Gallery, London (2016). Her selected group shows include: Centre Photographique Rouen Normandie (2019); Katzen Arts Center, Washington D.C. (2018); Stedelijk Museum Breda, Netherlands (2018); Sans Titre, Paris; and Parafin, London (2017). Naim has participated in several art residencies including Cité Internationale des Arts, Paris (2019, 2018, 2016); and at Beirut Art Residency, Beirut (2015). She has been commissioned by Alserkal Avenue, Dubai (2020); and Hospital Rooms, London (2017). Naim’s works are in the permanent collection of the Museum of Old and New Art, Tasmania.

The current exhibition at The Third Line closes on 8 July 2022. For more information, check out the gallery’s website and follow them on Instagram here. Get to know Sara Naim better here and here. 

*Modified from the original text written by Vanessa Murrell. Find the press release here. 

Featured image: Sara Naim, ‘Window Scene’ (2021). Courtesy of the artist and The Third Line, Dubai.

Ellina