Taymour Grahne Projects

Taymour Grahne Projects Taymour Grahne Projects is a London and Dubai-based project space and art advisory.

Each of Cara Nahaul’s paintings begins as a black and white line drawing in her sketchbook. Family photographs and holid...
21/08/2026

Each of Cara Nahaul’s paintings begins as a black and white line drawing in her sketchbook. Family photographs and holiday postcards are used to trigger memories, but any reference to physical source materials are eschewed in the actual paintings.

The works shift between landscape and abstraction, creating a blueprint of an imaginary place with indirect references to particular events, time or geographic locations.

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Cara Nahaul
Walking in Serralves, 2026
Oil on canvas
65 × 50 cm. / 25.6 × 19.7 in.

Sikelela Owen taps into the universal experience of feeling simultaneously connected and alone, and the tension between ...
19/08/2026

Sikelela Owen taps into the universal experience of feeling simultaneously connected and alone, and the tension between love and solitude. Her depictions of children emanate innocence and the purity of youth.

The moment calls attention to the emotional depth of a child’s experience, giving recognition and validation to feelings which are often undermined or looked past. Her continued fascination with childhood blends her observations of her children with memories of her own youth, exploring the cyclical nature of life and the feelings that connect us.

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Sikelela Owen
Big Brother (Eli & Ethan), 2024
Oil on painting paper
framed 31 × 40 cm. / 121/4 × 15 3/4 in.

Mikey Yates works from an ever-evolving archive consisting of screenshots from home videos, fragile, warped family photo...
17/08/2026

Mikey Yates works from an ever-evolving archive consisting of screenshots from home videos, fragile, warped family photos, and personal snapshots. These images often serve as starting points, with textures and characters from the archive blended in the same way a musician samples records. He combines them with painting from memory, direct observation, and imagination.

These collage-like paintings convey the imprint of place, hybridity, loss, home, and the everyday. The artist’s intent is to tell his story—the layers, contradictions, and complexities of both his own experiences and his family’s history—by creating physical containers of his inner world to commune and connect with others.

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Mikey Yates
Chess, 2026
Soft pastel and charcoal on paper
69.5 × 56 cm. / 27.4 × 22 in.

Rooted in the people and places she has called home, Zimbabwe, Jamaica, and America, Owen paints loose, layered figurati...
14/08/2026

Rooted in the people and places she has called home, Zimbabwe, Jamaica, and America, Owen paints loose, layered figurative works that weave together personal memory, family, and community.

Her visual language draws on early modern 19th-century painting alongside intimate references and expansive imagery to bring these worlds to life.

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Sikelela Owen
Hanging, 2025
Oil on canvas
50.5 × 40.5 cm. / 19 7/8 × 16 in.

Born in London, Cara Nahaul’s paintings define and negotiate her cultural history and present location, seeking to chall...
12/08/2026

Born in London, Cara Nahaul’s paintings define and negotiate her cultural history and present location, seeking to challenge existing narratives and stereotypes on ideas about the tropical and exotic, terms used loosely in fetishised depictions of foreign lands.

In her work Nahaul’s mixed ancestry from Mauritius and Malaysia is counterpointed to her birth and upbringing in London.

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Cara Nahaul
Dreams of Tioman, 2026
Oil on canvas
60 × 50 cm. / 23.6 x 19.7 in.

Sikelela Owen’s paintings present candid figures immersed in hazy landscapes, often in repose or unassuming moments of c...
10/08/2026

Sikelela Owen’s paintings present candid figures immersed in hazy landscapes, often in repose or unassuming moments of connection. She captures the essence of being and the fluctuating nature of kinship, intimacy, and isolation. The use of lime greens and warm browns is central to her practice, washed over the canvas in layers that evoke movement and dynamism.

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Sikelela Owen
Nadene & Kaiden (Lloyd Park), 2024
Oil on canvas
90 × 60 cm. / 35 3/8 × 23 5/8 in.

The elongated canvas might suggest panorama; however, the mountain range does not recede into distant sublimity. It pres...
07/08/2026

The elongated canvas might suggest panorama; however, the mountain range does not recede into distant sublimity. It presses itself across the surface, outlined and overdrawn, as though the artist were testing how much a ridge can hold once it has passed through repetition, memory, and painterly insistence.

The sky is not an atmospheric release; it is a field against which the mountain becomes staged, almost theatrical in its emergence. The result is a landscape that has already been mediated and yet refuses to become inert. It remains in motion, not literally, but representationally; still shifting between observed terrain and remembered image.

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Roudhah Al Mazrouei
Mountain Shavings IV, 2025
Oil on linen in walnut floating frame
38 × 210 cm. / 14.9 x 82.6 in. (framed size)

Roudhah Al Mazrouei’s paintings do not open landscape as a stable window; they gather it, compress it, and hold it close...
05/08/2026

Roudhah Al Mazrouei’s paintings do not open landscape as a stable window; they gather it, compress it, and hold it close. In Sphere IV (2025), place does not arrive as panoramic certainty or scenic distance but as cropped, carried, and continually reforming at the threshold between memory and image, staging the very moment in which land becomes picture, sign, fragment, and return.

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Roudhah Al Mazrouei
Sphere IV, 2025
Oil on canvas, framed
64 x 64 cm. / 25.2 x 25.2 in. (framed size)

Drawing on the landscapes, gardens, and vernacular architecture of seaside New England, Gail Spaien’s paintings position...
04/08/2026

Drawing on the landscapes, gardens, and vernacular architecture of seaside New England, Gail Spaien’s paintings position the domestic interior as a site of quiet reflection and sensory memory. In Cinderella Sky, the scene unfolds through a carefully constructed interplay of pattern, color, and perspective, where the boundaries between interior and exterior begin to dissolve.

A wood-burning stove glows softly beneath a vast window, its warmth echoed in the rhythmic geometry of textiles and furnishings. Spaien’s distinctive use of decorative patterning and subtly skewed perspective invites the viewer into the space, where still life elements merge with landscape to create an atmosphere of familiarity, calm, and introspection.

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Gail Spaien (Gail Spaien)
Cinderella Sky, 2026
Acrylic on linen
127 x 127 cm / 50 x 50 in.

Artwork photo credit: Luc Demers

“Abbassy’s paintings are poised with stillness. Like the silent cinema of sleep when, safe in our beds, our unconscious ...
03/08/2026

“Abbassy’s paintings are poised with stillness. Like the silent cinema of sleep when, safe in our beds, our unconscious taps at portals usually kept closed as if to say: look, this part of me remains left to be heard. The effect is like a medieval icon shimmering with the patina of past lives.” - Dr Sona Datta

Working across painting and sculpture, Abbassy draws on her Persian heritage, mythology and personal memory to create works that exist between dream and reality. Her figures are at once familiar and elusive, unfolding as psychological landscapes where identity is fluid and the subconscious comes to the surface.

Tomorrow is the final day to view Of Loss and Redemption.

Discover the full exhibition via the link in our bio.

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Samira Abbassy
Of Loss and Redemption
Online Solo Exhibition
7 July – 4 August 2026

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Address

Taymour Grahne Projects. Warehouse 31a. Al Serkal Avenue. Street 8
Dubai

Opening Hours

Monday 11:00 - 19:00
Tuesday 11:00 - 19:00
Wednesday 11:00 - 19:00
Thursday 11:00 - 19:00
Friday 11:00 - 19:00
Saturday 11:00 - 19:00

Telephone

+442037458706

Website

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