You might remember this my recent text of adornment of -continuum exhibition that is now in Aisha Alabbar Gallery. Well, I decided to go a bit deeper. 

To put it short, opened on September 18, 2024, -continuum is a must-see for art lovers, culture enthusiasts, and anyone interested in exploring life’s grand narrative through unusual works. The fusion of kinetic and scientific pillars together with art

Created by Armin Najib, -continuum is a journey through the evolution of human existence, tracing our transformation from the fluidity of circles, symbolising early life’s organic flow, to the rigidity of squares, representing modern life’s structured, self-imposed boundaries. 

At the heart of the exhibition is the “Me, I and Existence” series — a collection that serves as a visual metaphor for humanity’s shift from living harmoniously with nature to seeking meaning in the confines of man-made structures. “Like a script for directing a movie, these pieces form a visual narrative of humanity’s shift,” Armin explains. Each piece in the exhibition invites viewers to reflect on the layers of history we build around ourselves and how these layers cocoon us, shaping who we are and how we move forward.

Born in Tehran in 1989, Armin Najib is a multidisciplinary artist whose practice spans painting, drawing, photography, sculpture, and even art jewelry. His work often merges art with science, particularly in the realms of kinetic mechanisms and magnetic fields, which fascinate him due to their ability to manipulate space and movement. This unique focus on scientific concepts is rooted in Najib’s background — he holds a degree in Mechanical Engineering, specialising in Solid Design from Azad University. His technical expertise and fascination with magnetism, ergonomics, and environmental sensing have led him to create custom tools and instruments that bring his concepts to life.

— The exhibition traces a transformation from circles to squares, symbolising life’s transitions. How did this concept come to you? 

— I have always been fascinated by how deeply ingrained cubic forms are in our daily lives. There is something almost paradoxical about our relationship with sharp-edged objects. If you look back at our ancestors' lives, they were surrounded by organic, curved forms — everything in nature was round: the sun, the moon, birds' nests, eggs, even atoms and molecules. Yet, as we evolved, we began designing our spaces — homes, buildings, vehicles — in square, angular shapes. I believe we have come to find a strange sense of comfort and convenience in these rigid, structured forms, and now I see us even as cubes! 

— You celebrate the "beauty of imperfection" in this collection. Can you expand on how your personal experiences or worldview have influenced this perspective, and how you see imperfection shaping human existence? 

— To truly understand the concept of perfection, I believe we must first understand its opposite — imperfection. It is like a shadow which only exists in the absence of light. In life, we all face challenges, and overcoming them leaves marks — both visible and invisible. Much like a wound that heals but leaves a scar, these marks become part of our story. In our pursuit of perfection, it is often our imperfections that make us who we are. Every struggle and every lesson adds to our value, shaping our identity. This series is a celebration of those marks, and they appear like patches riveted to the cubes, which creates beautiful patterns that only become visible when they get exposed to the spotlight. 

— Your work often involves kinetic elements and magnetism. How do you balance these technical elements with the more abstract, emotional themes of the exhibition? 

— Magnets have always felt magical to me — these small pieces of metal-containing huge, invisible energy. Like a higher power that is unseen but has an impact on everything around them. You can’t see a magnetic field with the naked eye, but when it interacts with certain metals, it reveals its secrets. In my work, the magnets embody the transformation from circles to squares — they are the invisible force guiding the shift, bridging the abstract with the technical. For me, that transformation is where the magic lies.

— You have called the Me, I and Existence collection the DNA of your work. Can you explain the personal or perhaps the philosophical narrative behind this series? 

— This collection is my ongoing exploration and studies of magnets, ferrous metals, and liquids — the beautiful interplay of magnetic fields and how they form both geometric and organic shapes. In this series, I tried to understand the "language" of magnets, learning to manipulate them while still allowing them the freedom to act as their own characters. 

The viewer is often left with a question: How? And to be honest, I don’t have an answer to that either. This uncertainty, this mystery is more an answer to it. 

— You have described your creative process as improvisational — can you walk us through your process when you were creating pieces for -continuum? 

— As a full-time artist with over a decade of practice, my process has evolved to a point where it feels almost instinctive. I have spent countless hours working with my materials, developing my techniques to such a degree that it is now more of a mental exercise and becomes like a mental factor. It is like a pianist who has played for years and finally becomes one with their instrument. This mastery has granted me a kind of freedom—the freedom to create anything I envision or desire. 

When I work, minimal pre-planning is involved. I surround myself with tools and materials that resonate with me in the moment and allow the process to flow naturally. For me, art must be both beautifully crafted and intellectually engaging. And I believe that balance is only achieved when you trust the process. 

Furthermore, curating such an unconventional exhibition might be a challenge as well. Therefore, The Sandy Times editorial reached out to Shilan Samaei, the curator of -continuum and gallery director. 

— What was your overarching vision when curating the -continuum? How did you work with Armin Najib to bring his concepts of evolution and transformation to life in the exhibition space? 

— The vision for -continuum is to reveal shadows of the past intertwined with reflections of the future. This collection is an invitation to engage deeply with the human experience. Each piece symbolises a stage of evolution, encouraging viewers to recognize their own growth and transformation. Working closely with Armin Najib, we curated works that embody change and adaptation, ensuring a cohesive presentation of his concepts.

— How did you use the gallery space to emphasise the fluidity and rigidity represented in the exhibition? 

— I believe lighting was essential in this exhibition. The varied lighting creates shadows and reflections that highlight the themes of transformation and evolution. The space's layout encourages visitors to consider how these opposing forces coexist and impact our experiences. We crafted an environment where shadows evoke memories of the past while reflections suggest possibilities for the future.

— How do you hope the visitors will engage with the thematic elements of evolution, transformation, and imperfection? Are there particular moments in the exhibition that you think will resonate deeply with them? 

— I hope visitors connect with the themes by reflecting on their own experiences and personal growth. I believe the interactive elements, like the kinetic sculptures, really enhance this connection.

— How does -continuum fit into the larger narrative of the gallery's curatorial direction, and what future exhibitions or themes might we expect from Aisha Alabbar Gallery? 

— This exhibition demonstrates our dedication to presenting innovative artists who challenge traditional viewpoints. Future exhibitions will continue by highlighting emerging voices within the UAE art community.

— What new insights or interpretations are presented in the accompanying exhibition catalogue? How important are publications like this in shaping the long-term impact of an exhibition? 

— The catalogue includes an essay about the exhibition and a poem by Suhail Rasheed, both of which help viewers grasp the themes more deeply. Publications like this are essential as they extend the exhibition's reach to a broader audience.