Sometimes there are just signs. When I first discovered the work of the Emirati artist Almaha Jaralla, I knew that I wanted to celebrate her talents in the pages of Villa 88 magazine. Then in the weeks leading up to this issue’s cover shoot, my gut feeling about her was, out of the blue, reinforced from an unexpected international fan.
While visiting Dubai, this leading figure from a French luxury brand (who must remain nameless) gave a presentation where she spoke at length about how Jaralla’s work moved her. Highlighting in particular her skilful use of colour theory. She noted that the artist’s homogeneous palette was very subtle, especially her pinks. And the way that she juxtaposed those pinks with green and blue were creatively very inspiring.
Days later, as we chatted over Zoom, I told Jaralla about my experience at the event and her face lit up. She had been tagged on Instagram in a quick video about the presentation, so she was aware, but never imagined the extent to which her work had been celebrated. She felt seen in a whole new way – and on a decidedly different scale. Understandably, she hopes it’s perhaps a sign that the famous French house might reach out to her directly one day. “I would love to be involved with them in some way,” confesses Jaralla.
At just 28 years old, Jaralla is already redefining what it means to be an Emirati artist in the 21st century. She is a creative force born not from spectacle, but from a profound sense of place, heritage, and humanity. In a world now obsessed with speed and surface, Jaralla’s work is a layered meditation on history, culture, and memory – an artistic practice rooted firmly in the soil of her hometown of Abu Dhabi, yet her oeuvre is expansive enough that clearly resonates far beyond the borders of the Gulf.
“Genuineity to me is very important,” Jaralla says with quiet conviction. “I think it will show if I’m genuine to myself, and that organically translates to my work.” As she speaks and reflects on how to answer each question posed, the artist’s hands keep busy. As she gestures to make a point, a pair of pliers appears in her hand. She is working on a new project, one that is exploring untried mediums, including textiles and embroideries.
Jaralla explains that her primary audience is her own culture: “My work is specifically for the Emirati audience because that’s what I understand, and that’s who I’m talking to. But it’s very interesting how it was received in a different landscape around the world. Because my work talks about our history, a history that is maybe not that well understood,” she says slowly as she unconsciously twists her fingers in her shoulder-length hair, reflecting on how to talk about her artistic expression.
For Jaralla, her art is not about creating grand proclamations. It’s about sparking dialogues, prompting questions, and preserving the delicate nuances of culture and heritage in the landscape of a world that is more interconnected than ever. “In the end, it’s art, the hope is always that the audience will find a way to have a conversation with the work, having a visceral reaction to the piece instead of just learning about our history from a book.”
Born and raised in downtown Abu Dhabi, Jaralla grew up in a multicultural environment, surrounded by a vibrant mix of nationalities. “That’s all I know,” she says simply. “I’m very fascinated with Abu Dhabi and how immersive it is – the multicultural aspect of it, how I grew up surrounded by different nationalities.” It’s this layered complexity that runs like a thread through her work, weaving stories of migration, memory, and transformation.
After graduating from Zayed University in Abu Dhabi, Jaralla is continuing her studies towards an MFA at New York University Abu Dhabi. “I’m going to graduate next year,” she shares. “I have a year in front of me and I am doing a lot of research, focusing on Gulf history, just because of the resources that I have at NYU – they have a lot of focus on the region.” With the MFA program providing access to archives and intellectual resources, she has delved deeper into exploring textiles and antique monies as tangible markers of Gulf history.
“My fascination now is coins, because coins can create a timeline, a visual representation of the passage of time,” she explains. “For example, the coins of Aden specifically come from a port city – there was a period of time where they used the Anna or the Indian Rupee. I also find it very interesting that the East India Company had its own coin,” she says with a bit of awe in her voice.
Textiles, too, have become an important part of her evolving art form. “I’m fascinated with entering the textile world – designing my own textile would be very interesting. That’s what I’m trying to do in this MFA. But I’m still painting; it’s just like an addition to painting I still love to do.”
Jaralla’s explorative nature doesn’t just manifest in her work. She also dares in the real world. Days after our chat, we meet in person on set for this issue’s cover shoot. Gone are her long locks of hair. In a spur-of-the-moment decision, she let the on-set hair stylist lob off her mane to create a chic and modern twist on a mullet. It looks fantastic. Especially paired with outfits from designer Matthieu Blazy’s final, and highly artistic collection for Bottega Veneta.
For an artist where the exploration of colour plays such an important role, getting to delve into a range of hues in the clothing she is wearing for the shoot keeps Jaralla energised throughout the day. She dances between shot set-ups and admits she can’t decide which piece she would love to add to her personal collection. “They are all so interesting,” she reflects, looking over the painterly dresses and textureal tops.
Colour is the avenue Jaralla chooses to convey an era and or an emotion in her art. “I use colour to signify a period of time and what I’m trying to evoke from this imagery. If it’s very vibrant or it’s very muted, it tells you if it’s the 70s or the 80s. A lot of my paintings have this pinkish colour that comes from the Fuji camera of that time,” she shares. Her research into the colours of old photography has also taken her to British archives, where she noticed a distinct bluish tint in photographs from the 1960s. “Every city has a colour, to me, at least.”
As the world continues to race towards automation and AI-generated creativity, Jaralla is intentional about maintaining a deeply human connection to her work. “I am not scared of AI,” she says. “I think AI can be a really good tool if it’s used in an ethical way. But my work needs to involve my body, my hands, and my time too.” She pauses thoughtfully before adding, “It gives it a human touch to spend time reflecting and working with the imagery. I don’t think my work would be my work if I skipped that part.”
For Jaralla, it’s not just the final pieces that matter to her – it’s the entire process. Walking the streets of Abu Dhabi, observing the textures and rhythms of daily life, inviting fellow artists into her studio for constructive criticism – these rituals are as vital to her creativity as the paintings themselves. “Being involved in the art community, inviting artists to the studio, having tiny critiques – it’s so important to me,” she emphasises. “My community is everything.”
The oldest of eight siblings, family, too, plays a pivotal role in her journey. Although initially cautious about her pursuit of a career in the arts, her parents are some of her most ardent supporters. “My dad created a whole studio space for me at home,” she says warmly. “My parents come to my shows and I have only felt support since the beginning.”
Jaralla’s work often centres around the women in her family. Her first two exhibitions were named after female relatives – Shadia after her grandmother and Seham after an aunt. “Most of my work is about women in my family that I admire,” she shares. “My work depends heavily on imagery. And most of the images I use are either family archives, British documents, or my own photographs.”
Despite her growing acclaim, Jaralla remains grounded, aware of the role she has now begun to play for asperational artists. “It’s great to have some kind of representation,” she reflects. “I’m glad if I can also inspire a new generation. I think that’s what motivates me to never stop, the work has implications that are bigger than just the piece itself.”
And what would Jaralla most like people to know about her? “I want to highlight how important representation is in the arts,” she says firmly. “It’s a new scene for our country and it’s crucial to have more Emirati representation. I want to encourage more young people to take that step, to become artists – it’s very doable.”
It is clear that Jaralla’s work stands at the forefront of a new generation of Emirati artists. She is telling many rich narratives about the UAE and its people without any overt fanfare, just a steady, powerful intention. She is helping to shape not just a national identity for her country, but a global understanding of the complex and ever-evolving story of the Gulf. “Every nation needs its artists to shape their identity,” she says.
Jaralla is doing just that – gently, persistently, but also profoundly – one colourful and nuanced artwork at a time.
Photographer: Sam Rawadi
Creative Producer: Beya Bou-Harb
Set Designer: Egor Andryushin
Stylist: Polina Shabelnikova
Makeup Artist: Emily Clayton
Hair Stylist: Alireza Mousavi
Videographer: George Tsikos
Assistant Stylist: Sakshi Goindani
Clothing: Bottega Veneta
