Hassan Sharif
| Hassan Sharif | |
|---|---|
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| Born | 1 January 1951 |
| Died | 18 September 2016 (aged 65) Dubai, United Arab Emirates |
| Known for | Contemporary art, Process Art, Conceptual art |
Hassan Sharif (1 January 1951 – 18 September 2016) was an Emirati artist who lived and worked in Dubai, United Arab Emirates. His work is represented in major public collections, such as the Guggenheim New York, Guggenheim Abu Dhabi, Centre Pompidou, Mathaf Arab Museum of Modern Art, Tate Modern, and Sharjah Art Foundation.
Sharif’s early ‘caricatures’ were printed in the UAE’s nascent newspapers and magazines from 1973 to 1979, and reflected on the political climate of the Middle East in the 1970s as well as the UAE’s rapid urbanisation and commercial globalisation since its formation. By the time Sharif left the UAE in 1979 to pursue a formal art education, he had actively rejected calligraphic abstraction and Arab Nationalism, both of which were the dominant discourse in the region at that time, as well as the ‘negative irony’ of his early cartoons. "I had had some experience from creating the Caricatures but when I went to Britain I wanted to clean that away; to forget or ignore what I had been doing before. [...] I just wanted to be around new ideas and whatever new was happening."
After a foundation year studying in Leamington Spa, Sharif enrolled at the Byam Shaw School of Art (today part of Central Saint Martins) in 1980 and came under the influence of artist Tam Giles, head of the Abstract and Experimental Department. This led to an interest in British Constructionism and particularly Kenneth Martin’s notion of ‘chance and order’, which Sharif developed into his own ‘Semi-system’ way of working – based around arbitrary or over-elaborate systems that are then followed to create works, often on a grid, from ‘Body and Squares’ (1983) to meticulously recording sentences read in a newspaper at points along a journey to Sharjah, to long sequences of black lines showing transformations of a line within a square. "I think of these markings as more of an engagement than an arrangement […] The important thing is the process."
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