Sikka Art and Design Festival pays homage to its historical Dubai home

A mural at Sikka Art and Style and design Festival.

Muhammad Yusuf, Functions Author

Beautiful contemporary designs, brilliant colours and desirable lighting have distinguished the visual id of Sikka Art and Style Festival (Mar. 15 – 24) around its 9 successive editions. In every single edition, the Pageant has experienced a distinct visual id, celebrating factors of the spirit of Al Fahidi Historical Neighbourhood, its household.

In excess of the editions, the visible identities have varied from Al Fahidi sky in 2016 to connecting Al Fahidi properties with bright rollercoaster themes in 2017, Al Fahidi birds in 2018, and Al Fahidi Home home windows in 2019. This 12 months, the Competition is celebrating the Al Fahidi Sidr tree.

Dubai Tradition and Arts Authority (Dubai Culture) organises Sikka Art and Design Competition on a yearly basis, shedding light-weight on the concepts that define the visible id.

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The Festival also serves as a setting up point for lots of artists to spread their wings and choose their do the job globally. Noor Khalfan AlRoumi, Sikka Art & Style Pageant 2022 Venture Manager, claimed: “After nine editions of Sikka Artwork and Design Competition, the qualitative additions consequently designed turned evident, equally at the amount of the artists’ careers who participated in its preceding editions and in phrases of creating the emirate’s thriving creative scene.

“Al Fahidi Historical Neighbourhood, with its historical and heritage parts, has been an inspiring location for the imaginative artists participating in Sikka above the training course of its nine editions.

“It has acted as a platform exactly where their creativeness has sprouted and flourished, even though the Competition also thrives in them. The properly-rooted and historically relevant Al Fahidi Sidr tree is a excellent visual identity for the Pageant, as it honours and celebrates all abilities collaborating in Sikka, who have been with the function considering that its inception.” The strategy is viewed in the design and style of the Festival’s entrance, which was designed by Lebanese architect Karim Tamerji, a Dubai cultural visa holder.

  Artwork on screen at Sikka Artwork and Layout Competition.

The notion was also activated by commissioning 3 female artists to create the Sidr Sikka Artwork Installations, employing Sidr trees uncovered in Al Fahidi. The artists are: Shereen Shalhoub from Jordan Evgenia Silvina from Russia, and Paola Lopez from Mexico. Commenting on the design and style of Sikka entrance, AlRoumi stated that it is derived from the Al Fahidi Sidr tree and embodies Sikka Art and Design platform, representing a new way of the Pageant, which aims to generate an built-in atmosphere for the progress of artistic talents and provide accessibility to professionalism.

The style and design blends the factors of mother nature and technological innovation, exactly where the formation of the tree refers to the new era of artists who are established to condition the foreseeable future of artwork in the following decade. The rich spectrum of colors displays the many programmes and foundations on which the Festival is developed.

For this edition of the Festival, eight artists from the UAE and the area have also designed murals motivated by the spirit of the Neighbourhood. The Sikka 2022 Murals will serve as legendary very long-phrase artworks, as they will adorn the Al Fahidi Neighbourhood even after the Competition concludes. AlRoumi explained that the murals have been produced as portion of the Public Art Approach carried out by the Authority, which aims to make Dubai an open up-air museum and a perennial world wide artwork exhibition.

Dubai Culture commissioned younger graffiti artists to do murals in line with its topic ‘Celebrating Artwork, Celebrating Growth’. They incorporate:

Splendor Tree, showcasing 7 murals in design and style and concept, executed by male and female artists from UAE and the region, led by Emirati artist Saggaf Al Hashemi and his function ‘Al Fahidi Magnificence Tree’ that embodies his vision of peace, attractiveness and adore. It is a a few-dimensional artwork encouraged by the topic of the Festival established with an intention to let the viewers interact with it.

In a different mural of the festival, Malaysian-Chinese artist Gary Yong in his work referred to as Tree of Knowledge, brings together summary and figurative styles. Yong’s mural centres on knowledge as a human price. He feels that a single believed or strategy can develop and grow, is contagious and has the power to encourage and affect minds.

The I-Live mural by Russian artist Evgenia Silvina and Belgian artist Grimm Van Gestel showcases an android character that radiates its visions to the world by opening a number of perceptions and realities. The projection on the mural is composed of a variety of pictures of character and pc information, merged with visuals of Dubai life.

Bahraini artist, Mahmoud Al-Sharqawi, recognized by his phase title Huvil, has made Tech Naash, which showcases a compromise among heritage and technology.

The mural ‘Music Seems Greater with You’ by Bahrain primarily based Egyptian artist Perryhan El Ashmawi, signifies the thought of convergence in between the spirit of society and modern day innovations.

Detailing her strategy, she reported: “My mural is in line with the Festival’s concept and Al Fahidi spirit, as it explores the magnificence that will come from mixing the historical and contemporary.”

Sisterhood, a collective mural by French artists Anne Laure Romagny and Robin Chloe-Azaide, highlights couture divas getting a spin to Al Fahidi Historic Neighbourhood.

Unapologetically female, the artwork is a melting pot of traditions, cultures, avant-garde style, street style and patterns, in a huge explosion of colours.

Together with the participation of the New Zealand Pavilion at Expo 2020 Dubai, a 20-metre mural is currently being exhibited to the general public at Al Seef, as an extension of the Sikka Art and Style Competition, ahead of remaining transported again to New Zealand.