In his City Lights series, Mohamed Abla transforms the urban landscape into a vibrant tapestry of energy and rhythm. The works capture the glow, pulse, and fleeting beauty of cities at night, where light becomes both subject and symbol—reflecting human presence, movement, and memory. Abla’s brushstrokes invite viewers to feel the atmosphere of the city, not just see it, offering a poetic meditation on modern life illuminated by its own brilliance.

Built Elsewhere presents a series of bronze sculptures and silkscreen prints that examine the conceptual tensions surrounding home, memory and identity within the context of diasporic presence. Rather than reconstructing a singular place or origin, Rim Albahrani works through abstraction to propose spatial forms shaped by memory, movement, and shifting contexts. These are not representations of architecture, but spatial propositions shaped by psychological orientation and lived experience. The sculptures are grounded yet slightly off center, holding emotion through quiet imbalance. In parallel, the prints function as impressions, visual traces of structures recalled, imagined or partially forgotten. This work aligns with broader conversations about how space and belonging are shaped through experience, relation and the refusal of fixed narratives. Rim Albahrani constructs meaning through repetition, open form, and the tension between structure and memory. While certain theoretical ideas may echo in the background, they are not central. It remains committed to a visual language that holds ambiguity, invites reflection and resists the need for definition. Built Elsewhere approaches form as a mode of reflection. It holds presence, relation, and quiet transformation. Rather than seeking certainty, the work remains open and suggests that belonging is shaped through gestures that lean, shift, and stay attentive to change. These forms trace the ongoing construction of self, memory and place.