The Cultural Foundation in Abu Dhabi is hosting “Skin of Dreams,” a mid-career retrospective of British artist Shezad Dawood’s work spanning more than 15 years. Organized by the Department of Culture and Tourism – Abu Dhabi, the exhibition opened on April 9 and will run through September 20 in two phases, offering a deep dive into Dawood’s interdisciplinary practice across painting, sculpture, digital media, and virtual reality.
Curated by Jessica Cerasi, the exhibition explores themes including architecture, ecology, and alternative futures, creating a dialogue with the Cultural Foundation’s distinctive architectural space. Dawood’s title, “Skin of Dreams,” refers to a cinema screen acting as a boundary between imagination and reality—a motif that underscores the fluid interplay between physical and digital realms throughout the show.
The retrospective showcases a broad range of Dawood’s work, beginning with his early textile-based paintings such as *Flow My Tears The Policeman Said II* (2011) and *Cave Interior* (2016), which draw upon Pakistani ralli textiles to investigate memory, identity, and cultural heritage. Other early pieces like *Island 1* (2011) engage with visual perception through layered imagery. The exhibition then moves into explorations of the body’s relationship with space and movement, exemplified in works such as *Through Pierced Flesh and Skin of Dreams* (2014) and *The Wanderer* (2015).
Dawood’s engagement with architecture is reflected in a series of installations and sculptures including *When Louis met Ahmed* and *Kenzo Rides Again* (2023), *Anselm Chapel, Tokyo* (2016), *Okpo Shipyard* (2018), and several pieces from 2020 that investigate the intersections of space, philosophy, and the built environment. More recent works like *Night in the Garden of Love* (2023) and its digital counterpart incorporate artificial intelligence, sound, and scent to create immersive, multisensory environments addressing biodiversity and ecological change.
Digital media also play a significant role, with pieces like *Encroachments* (2019) and *Clifton Beach (Digital terrazzo) [Black]* (2019) examining cultural identity and geopolitical issues. Complementing these are recent paintings such as *For Minnette (Green)* (2026) and *For Minnette (Turquoise)* (2026), which offer more intimate reflections on memory and emotion. At the center of the exhibition is *Leviathan Cycle*, a multimedia work imagining futures shaped by climate change, artificial intelligence, and scientific innovation.
Dawood described the exhibition as a highly personal collaboration with the Cultural Foundation, which he regards as “a home away from home.” He emphasized the importance of the venue—not only for its community role in Abu Dhabi but also for its unique architectural qualities that informed his curatorial approach. The exhibition’s immersive design integrates walls, suspended elements, and architectural interventions that interact with the building’s geometry, from floor patterns to ceiling lighting, making the gallery space an active element of the artwork.
The artist highlighted his interest in the convergence of nature, pattern, and technology, drawing parallels between traditional textile techniques and digital systems akin to binary code. He described the exhibition as an experience inviting visitors to move through the space, engaging dynamically with the artworks, which respond differently depending on the viewer’s perspective.
Ultimately, Dawood hopes the show will rekindle public appreciation for the Cultural Foundation itself, presenting the exhibition as a “gateway to the imagination” that fosters new ways of seeing and interacting with both art and environment.