New Frontiers: Insight
Lines Of Light collection (2018- 2021)
“Light is not so much something that reveals, as it is itself the revelation" -James Turell
Any artwork starts with a line, a basic element that is no more than a dot moving between two points, without which no visual work would be possible. The curatorial concept of Lines of Light combines the expressive potential of lines with the power of light to enable vision, both physical sights, as well as
revelatory insight.
Lines of Light features the work of the Artist, inviting her to exploit the power of light as a physical medium, as well as an allegory, using its revelatory, transformative qualities to create works that engage through her ability to challenge the viewer’s perspective. The artist was given freedom to direct
her inquiry either within herself or towards her outer world, with no constraints other than the size of her work and the medium of printmaking.
Insight collection (2016)
In “Insight,” a collection of mixed-media-on-canvas paintings, I cover portraits of individuals – friends, colleagues, artists, strangers - that I have taken over a period of two years, with layers of acrylic paint and ink. I present to the viewer a barely visible image of an upside down face gazing intently from under
multiple veils of paint and ink. I chose to start the process with a large portrait printed upside down on stretched canvas as a base. I then begin to cover it with layer after layer of acrylic paint and ink. Eschewing the use of brushes and other painting tools for a limited palette of freely flowing colour that I allow to find its way, under my direction, onto and around the canvas. Using a limited number of colours preserves the simplicity of the work and the concept.
The concept of this collection was born of a single idea: changing a situation or its outcome by changing the perspective from which it is viewed. Thus, the upside down faces looking at the viewer from under the paint allow for an examination from a fresh new perspective which can lead to new, creative solutions to resistant problems, or the discovery of an exciting new aspect to something that had grown stale with time. I aim to engage the viewer on an intimate personal level, provoking him to a deeper self-examination in an attempt to rejuvenate, renew and simplify all in a bid to achieve a new
level of contentment.
Out Of Time collection (2016)
In a time of continuous exposure to the reciprocal traffic of internal and external matters, we ourselves have become codependent and in a state of constant flux. We are, therefore, rapidly forming and de-forming the collective idea of the home - and self-affairs, while also constructingand deconstructing exchangeable ideologies and collective moral values. At times, one finds the internal idea of the ‘self’ and the ‘other’ becoming an accurate copy of exterior-centric worldly fluctuations. The artist, in this given state of affairs, is a social medium/figure. The artist arrives at this by shifting between the private solitary space of the studio and worldly involvement as a means of survival of the time. The solitary self-observant time as point of departure has a become rare phenomenon, i.e. the time in which the artist is not involved in worldly matters, nor in reflecting on the events of the exterior world. A time of complete absorption in one’s inner worlds in an intimate and sometimes childlike-fashion that informs the process of creating art is now something sought. This 24-month project brings together twenty artists from across Europe and the Middle East in search of that ‘perfect’ moment of self observation. All twenty artists are unified in this exhibition by using the same handmade paper as a physical point of departure as they temporarily - yet carefully - step out of the concept of time.
Photo Collage collection (2013-2014)
My work explores the tension between memory and presence, layering personal narratives with collective visual language. This current collection on canvas merges photo collage, ink, and acrylic in a process that is both intuitive and deliberate. The photographic fragments I use—These portraits were taken by me of friends, fellow artists, and strangers—serve as intimate yet universal entry points into the composition. These faces are not just subjects; they are moments of shared presence, evoking stories, relationships, and emotional states suspended in time. The interplay of materials is central to my process. Ink introduces fluidity and spontaneity—its stains, drips, and linear gestures disrupt the fixity of the photographic image. Acrylic, with its texture and opacity, allows for concealment, layering, and reinterpretation. Each canvas becomes a layered excavation, where some elements are
buried and others brought to the surface, echoing the selective nature of memory. This body of work responds to the fragmented rhythm of contemporary life, where identity is shaped through fleeting encounters and shifting contexts. By collaging my own portraits into abstract compositions, I create a space where the personal merges with the collective, and where each viewer can project their own narrative into the work. Ultimately, my practice invites contemplation rather than conclusion—a visual dialogue between past and present, visibility and obscurity, self and other.
Letter and color Collection (2009-2010)
In "Letter and Color," Saleh delved into the interplay between the visual elements of Arabic script and the emotive power of color. Her works featured layered compositions where calligraphic forms intertwined with vibrant hues, creating a dialogue between text and abstraction. This fusion aimed to transcend linguistic boundaries, allowing viewers to experience the aesthetic and emotional resonance of the script beyond its literal meaning. The collection’s significance lies in its exploration of identity and cultural heritage through contemporary art practices. By reimagining traditional calligraphy within modern artistic frameworks, Saleh contributed to the evolving discourse on Middle Eastern art and its global intersections. "Letter and Color" not only highlighted Saleh's technical prowess but also her commitment to cultural dialogue and innovation in the arts. The collection received attention for its unique perspective and has been referenced in discussions about contemporary Arab art exhibitions.
Artist Jehan Saleh
2026
“Light is not so much something that reveals, as it is itself the revelation" -James Turell
Any artwork starts with a line, a basic element that is no more than a dot moving between two points, without which no visual work would be possible. The curatorial concept of Lines of Light combines the expressive potential of lines with the power of light to enable vision, both physical sights, as well as
revelatory insight.
Lines of Light features the work of the Artist, inviting her to exploit the power of light as a physical medium, as well as an allegory, using its revelatory, transformative qualities to create works that engage through her ability to challenge the viewer’s perspective. The artist was given freedom to direct
her inquiry either within herself or towards her outer world, with no constraints other than the size of her work and the medium of printmaking.
Insight collection (2016)
In “Insight,” a collection of mixed-media-on-canvas paintings, I cover portraits of individuals – friends, colleagues, artists, strangers - that I have taken over a period of two years, with layers of acrylic paint and ink. I present to the viewer a barely visible image of an upside down face gazing intently from under
multiple veils of paint and ink. I chose to start the process with a large portrait printed upside down on stretched canvas as a base. I then begin to cover it with layer after layer of acrylic paint and ink. Eschewing the use of brushes and other painting tools for a limited palette of freely flowing colour that I allow to find its way, under my direction, onto and around the canvas. Using a limited number of colours preserves the simplicity of the work and the concept.
The concept of this collection was born of a single idea: changing a situation or its outcome by changing the perspective from which it is viewed. Thus, the upside down faces looking at the viewer from under the paint allow for an examination from a fresh new perspective which can lead to new, creative solutions to resistant problems, or the discovery of an exciting new aspect to something that had grown stale with time. I aim to engage the viewer on an intimate personal level, provoking him to a deeper self-examination in an attempt to rejuvenate, renew and simplify all in a bid to achieve a new
level of contentment.
Out Of Time collection (2016)
In a time of continuous exposure to the reciprocal traffic of internal and external matters, we ourselves have become codependent and in a state of constant flux. We are, therefore, rapidly forming and de-forming the collective idea of the home - and self-affairs, while also constructingand deconstructing exchangeable ideologies and collective moral values. At times, one finds the internal idea of the ‘self’ and the ‘other’ becoming an accurate copy of exterior-centric worldly fluctuations. The artist, in this given state of affairs, is a social medium/figure. The artist arrives at this by shifting between the private solitary space of the studio and worldly involvement as a means of survival of the time. The solitary self-observant time as point of departure has a become rare phenomenon, i.e. the time in which the artist is not involved in worldly matters, nor in reflecting on the events of the exterior world. A time of complete absorption in one’s inner worlds in an intimate and sometimes childlike-fashion that informs the process of creating art is now something sought. This 24-month project brings together twenty artists from across Europe and the Middle East in search of that ‘perfect’ moment of self observation. All twenty artists are unified in this exhibition by using the same handmade paper as a physical point of departure as they temporarily - yet carefully - step out of the concept of time.
Photo Collage collection (2013-2014)
My work explores the tension between memory and presence, layering personal narratives with collective visual language. This current collection on canvas merges photo collage, ink, and acrylic in a process that is both intuitive and deliberate. The photographic fragments I use—These portraits were taken by me of friends, fellow artists, and strangers—serve as intimate yet universal entry points into the composition. These faces are not just subjects; they are moments of shared presence, evoking stories, relationships, and emotional states suspended in time. The interplay of materials is central to my process. Ink introduces fluidity and spontaneity—its stains, drips, and linear gestures disrupt the fixity of the photographic image. Acrylic, with its texture and opacity, allows for concealment, layering, and reinterpretation. Each canvas becomes a layered excavation, where some elements are
buried and others brought to the surface, echoing the selective nature of memory. This body of work responds to the fragmented rhythm of contemporary life, where identity is shaped through fleeting encounters and shifting contexts. By collaging my own portraits into abstract compositions, I create a space where the personal merges with the collective, and where each viewer can project their own narrative into the work. Ultimately, my practice invites contemplation rather than conclusion—a visual dialogue between past and present, visibility and obscurity, self and other.
Letter and color Collection (2009-2010)
In "Letter and Color," Saleh delved into the interplay between the visual elements of Arabic script and the emotive power of color. Her works featured layered compositions where calligraphic forms intertwined with vibrant hues, creating a dialogue between text and abstraction. This fusion aimed to transcend linguistic boundaries, allowing viewers to experience the aesthetic and emotional resonance of the script beyond its literal meaning. The collection’s significance lies in its exploration of identity and cultural heritage through contemporary art practices. By reimagining traditional calligraphy within modern artistic frameworks, Saleh contributed to the evolving discourse on Middle Eastern art and its global intersections. "Letter and Color" not only highlighted Saleh's technical prowess but also her commitment to cultural dialogue and innovation in the arts. The collection received attention for its unique perspective and has been referenced in discussions about contemporary Arab art exhibitions.
Artist Jehan Saleh
2026
