Anja Bamberg

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Back in the studio. Back among Collective X. And my head is full of ideas after the summer away. There's something about...
08/09/2026

Back in the studio. Back among Collective X. And my head is full of ideas after the summer away. There's something about walking back into this space after a break that resets everything: the light hits the canvases differently, the half-finished pieces ask new questions, and suddenly the thoughts that were quietly forming all summer start finding their shape. I'm ready to get back into it.

I left "Rising from the Depths of the Mysterious Seas" in a hushed lane of Al Fahidi, where the old walls keep their own...
04/09/2026

I left "Rising from the Depths of the Mysterious Seas" in a hushed lane of Al Fahidi, where the old walls keep their own kind of silence. The painting lives by other rules: a world beneath the surface where no light falls as it should, paper strips drifting like creatures that never needed to be seen, the dark below not ground but depth itself, continuing beyond the frame. What rises here does not rise toward safety. It rises because that is simply what living things do, even in the cold, even in the dark, here among stone that has stood for generations.

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An old doorway in the quarter, and Uprooted (2026) resting in it: three forms rising through blue, rooted in darkness, r...
01/09/2026

An old doorway in the quarter, and Uprooted (2026) resting in it: three forms rising through blue, rooted in darkness, reaching toward light with the persistence of things that grow in water. They are made from recycled paper, once a bag, now pressed into something like seagrass, or the memory of a plant. I painted it in an unsettled time, when the ground felt uncertain, not as a statement but because my hands moved toward what they know: water, vertical forms, the question of what holds when everything shifts. Against this weathered stone, minutes from the creek, the figures simply remain standing, tangled and luminous.

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A small work from my Mleiha series (2021), tucked into a carved niche as though the wall had been waiting for it. I pain...
29/08/2026

A small work from my Mleiha series (2021), tucked into a carved niche as though the wall had been waiting for it. I painted these soon after moving to Dubai, when the desert first took hold of me: the excavation landscapes of Mleiha in Sharjah, where I returned again and again. Its ochre and sand tones settle so easily against this old plaster in Al Fahidi, one desert answering another, old ground and new work quietly agreeing.

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That's me among the paintings, taking one quiet moment before they all go back inside. Seeing them spread out in the ope...
26/08/2026

That's me among the paintings, taking one quiet moment before they all go back inside. Seeing them spread out in the open like this moved me more than I expected, all these blues gathered on the old stone, out in the light for once instead of the studio. This is the feeling I keep coming back for: the space, the stillness, and the quiet happiness of belonging to a place like this.

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Late sun over the wind-towers, and two of my deep sea works lifted up to meet the evening: "Rising from the Depths of th...
23/08/2026

Late sun over the wind-towers, and two of my deep sea works lifted up to meet the evening: "Rising from the Depths of the Mysterious Seas" and "Spectres in the Deep", from my Abyssal series. Both live at the darker end of my painting, the abyss, that lightless, silent world where the sea becomes a watchful, ancient presence and forms drift without wind. It felt quietly strange to raise them here among the old rooftops of Al Fahidi, the minaret close by and the creek never far, what belongs to the deep, held for a moment in the last gold light.

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Three small works from Ocean Fragments (2023), resting on a weathered door, half in shadow, half in sun. Each is acrylic...
20/08/2026

Three small works from Ocean Fragments (2023), resting on a weathered door, half in shadow, half in sun. Each is acrylic and oil on the back of a paper bag, just fourteen by twenty-two centimetres, small oceans made from everyday things. I love these quiet meetings of old and new: my colour pausing a while on wood worn smooth by time, here in the lanes of Al Fahidi.

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A blue bench, its paint softened by the years, and a framed work from my Falaj Series set down to rest beside it. These ...
17/08/2026

A blue bench, its paint softened by the years, and a framed work from my Falaj Series set down to rest beside it. These are painted over photographs of the ancient falaj channels, which have carried water beneath this land for more than three thousand years. It felt right to place them here in Al Fahidi, where old stone and old water still shape everything, the faded blues of the timber answering the blues of the work.

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It was such a joy to carry all those paintings out of the studio and into the neighbourhood, laying them out one by one....
14/08/2026

It was such a joy to carry all those paintings out of the studio and into the neighbourhood, laying them out one by one. This is a moment in the middle of it, the work still finding its order on the old stone. I loved seeing how the colours came alive next to these ancient walls.

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A wind-tower, a young tree, and The Lurking Unknown alone in the wide calm of the square, here in Al Fahidi, where the m...
11/08/2026

A wind-tower, a young tree, and The Lurking Unknown alone in the wide calm of the square, here in Al Fahidi, where the mosque and its minaret watch over the quarter. It comes from Drowned Gardens of Silence, layered blues and strips of recycled paper grown into roots and tendrils, a world set beneath the surface. Two seas made it: the cold Baltic of my childhood and the warm Gulf just minutes from here. Not an elegy for the ocean, but a portrait of persistence, asking what holds when holding is no longer certain.

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Al Fahidi Historical Neighbourhood
Dubai

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