Author name: Odalisque

Lie Fallow an Exhibition by Dimen Hama Abdulla text Sandra Myhrberg Dimen Hama Abdulla, a multifaceted artist whose work spans playwriting, dramaturgy, painting, and sculpture. Born in Kurdistan in 1984, she arrived in Sweden at the age of six, carrying the weight of migration and the responsibility to tell her story. Her debut monologue, On All Fours, received critical acclaim, marking the beginning of a prolific career in theater. Yet, behind the scenes, Dimen’s visual art remained a deeply personal practice—until now. With her latest exhibition, Resting Fallow, she invites us into a world where words and images intertwine, exploring themes of survival, restoration, and creative renewal. In this conversation, we delve into her artistic journey, the symbolism behind her latest works, and the dialogue between her visual and literary expressions. What inspired the title Lie Fallow for your exhibition?“Lie fallow” is a concept in farming related to letting the soil rest and allowing hidden “things” to process. Lie fallow, besides being a very beautiful and poetic phrase, carries the meaning of being in fruitful solitude. How does the concept of “Fallow” connect to your personal and artistic journey?To Lie Fallow is a cyclic process of dying, being, and blossoming. For me, it’s a story of becoming. Your works often merge the abstract with the figurative. How do you navigate these two realms in your art?It’s a process about being responsive to the intuitive and the intentional. The “navigating” is a practice of listening to what is happening in the work. How has your relationship with visual art evolved over the years?I’ve always had a relationship with visual art, since the first time I saw my first cartoon. Then I started to draw—as every child does—but I continued and never stopped. What role do materials play in your creative process?A significant one; for me, a painting is a sensory practice. The materiality is part of the joy and pleasure— the fabric of the paper, the pigments of the color, the density and softness of pastels. Your work often reflects themes of survival and migration. How do these experiences influence your visual art?I wouldn’t say that my work often has themes of survival and migration; rather, these are part of my history and what has formed me. I don’t want to set a theme for my work. I think language sometimes pins art, and even if it’s alluring to define it through language, I don’t want that. For me, it’s more that “things” are encapsulated in the pictures, but the paintings themselves aren’t meant to be read as a theme of migration and survival. You’ve worked across multiple artistic disciplines—writing, dramaturgy, and visual art. How do these practices complement each other?One is the discipline of the hand, one of the heart, and one of the head. What’s next for you after Lie Fallow? Are there any new projects or collaborations in the works?I am very happy to be the external examiner for the artist Jaana-Kristin Alakoski in two weeks. I am working on a theatre play for Stockholm Stadsteater, and I am teaching at Biskops-Arnö. I want to put some love and focus into these and create peace and space to return to painting. Dimen Hama Abdulla / Saskia Neuman GalleryLie FallowOn view 07.11—19.12.2024

Orchestrated Characters: Raghav Babbar’s Solo Exhibition at Larsen Warner Gallery text Natalia Muntean Stockholm’s Larsen Warner Gallery presents Orchestrated Characters, a solo exhibition by British Indian painter Raghav Babbar, an emerging talent in contemporary art. Babbar’s work captures ordinary people and everyday moments with a depth that invites the viewer to pause and reflect. “He works on several paintings at the same time,” explains Darren Warner, curator of the show and director of Larsen Warner Gallery. “This is partly due to the heavy layers and detailed strokes that require drying time, but also because he needs time to reflect on his subjects, capturing their emotional depth and intricacies.” Drawing inspiration from films, personal photographs, and memories, Babbar’s paintings explore common yet often overlooked moments in life, while conveying emotion through rich, textured layers of oil paint. With a technique reminiscent of Lucian Freud, Babbar uses thick layers to capture expressions, creating intimate portraits that draw viewers into each character’s psychology. Orchestrated Characters represents Babbar’s first solo show in Stockholm and is notable for including his works on paper, with six displayed publicly for the first time. These pieces reveal his process and approach to building his paintings, as each figure gradually emerges from washes of oil paint and turpentine. Usually a private part of his process, these paper works allow him to explore ideas before he transfers them to canvas. Each painting in the exhibition reflects both Babbar’s Indian heritage and his life in London, where he now resides. Through this body of work, he tells stories of Indian spirituality, legends, and the scenery of North India where he grew up, bridging cultural elements from India and the West through his impeccable technique. Warner notes that Babbar enjoys creating portraits and self-portraits, a passion evident in this exhibition. Using light, shadow, and meticulous brushwork, Babbar conveys the essence of his subjects with sensitivity and empathy. Orchestrated Characters is on display at Larsen Warner Gallery until the 15th of December. Photos courtesy of Larsen Warner Gallery, portrait by Dan Weill, courtesy of Nahmad Projects