Kamran Samimi: Before Nature (I Am Both Created and Destroyed)

Kamran Samimi's first exhibition with The Third Line – Before Nature (I Am Both Created and Destroyed) –  draws inspiration from the land's rich tapestry of natural materials. During his three-week trip to Dubai in the lead up to this exhibition, Samimi harnessed the organic shapes of the UAE's mountains and rocks to produce his paintings entitledTranslations (2024). He also produced a large stone sculpture entitled Unbroken Column (2024) during his time in Dubai, which is installed outdoors in The Yard at Alserkal Avenue. Delving into the concealed narratives of the UAE's mountainous terrain, Samimi's practice is deeply rooted in a profound sense of place. As he explores the dynamics between human and non-human ancestors, his multicultural identity (Iranian/Norwegian, raised in rural Hawai'i) lends a distinctive perspective to unraveling these connections and conflicts.

“Our ancestors had a direct relationship with the natural world, knew a life indivisible from the rain, the sea, the wind, the stones. Through my marks and gestures, I honor their sacrifices and stories, and weave their layered histories with my own. In this fleeting world, I seek solace in The Ineffable -- finding within Nature that which unites and endures.” – Kamran Samimi

With Translations (2024), Samimi embarks on a journey beneath the surface of Dubai's contemporary architecture. Going beyond the rocky facade, he delves into the stories and consciousness woven into the city's roots. The scattered boulders across the surrounding desert become his medium, and through meticulous observation and interpretation, he endeavors to resurrect the very spirit of the landscape. 

Expanding his exploration on a global scale, Small Monuments (2023) takes on profound significance as he unearths stones from pivotal locations where he travels. In tune with the silent communication of the natural world, Samimiworks alongside both tangible and unseen influences to transform each stone into a unique canvas. The exhibition's narrative further extends with Rain Paintings (2023), serving as a poetic homage to Samimi's childhood in rural Hawai'i. These works capture the nightly rain, which, in the artist's memory, functioned as a soothing lullaby during challenging times.

At the heart of the exhibition stands the sculpture Unbroken Column (2024), meticulously crafted from limestone. This piece pays homage to the ancient religious structures in the region, reflecting on the age-old practice of etching beliefs into stone — a tradition upheld throughout history. In the midst of Dubai's modernity, Unbroken Column (2024) emerges as a powerful reminder, standing tall amid the landscape dominated by glass and steel monuments. 

The exhibition delves deeply into the intricate interplay between age-old traditions and modern aspirations. The central theme revolves around the merging of diverse cultural narratives as the artist efforts to infuse life into the dormant stories woven into the landscapes he explores. Beyond capturing the tangible essence of natural materials, the exhibition connects viewers to the hidden forces that mold their existence.