The Women Artists of Close to My Soul: Jameela Al-Shraim

Born in 1965, Jameela Al-Shraim’s love for creativity emerged early in her childhood, when she would craft her own dolls by hand and sketch with chalk on walls and floors. She fondly recalls visits to the Doha Corniche with her father, who nurtured her fascination with colour by pointing out the vibrant blue and yellow hues of Qatar’s natural landscape*.

Her artistic journey was further shaped by supportive educators—most notably an art teacher known as Ms. Mervat, who encouraged her to join the Free Atelier, an art centre that played a pivotal role in developing Qatari talents during the 1980s. The Free Atelier provided aspiring artists with essential tools, transportation to and from the art centre, and even a regular stipend, fostering an environment of creative growth.

In Qatar: Close to My Soul exhibition, three of Al-Shraim’s paintings are featured in the Dewdrops section offering insight into the formative stages of Jameela’s career. In Best Pearl in Qatar (1982) the artist’s first painting, a young woman in traditional attire gazes thoughtfully into the distance—a symbolic representation of the future. According to the artist, this figure embodies the aspirations of Qatari women, suggesting that the nation’s progress lies in their dreams and determination.

Opposite her stands a pearl diver, representing the past and paying homage to Qatar’s maritime and economic heritage. Both figures are enclosed within the silhouette of an oyster shell—an emblem of the country's pearl-diving legacy—set against a tranquil blue sea background that echoes the natural environment of Qatar. Through this piece, Al-Shraim underscores the importance of embracing one’s cultural identity while navigating the path toward modernisation.

The Victory (1984) is a powerful tribute to the heroism of the Qatari people during the historic Battle of Al Wajbah in 1893. Inspired by a striking image she once saw, the scene is brought to life through dynamic, expressive brushstrokes. Al-Shraim's depiction of galloping horses and densely packed armed men vividly captures the intensity of battle while evoking a strong sense of unity and collective strength.

Another early work featured in Qatar: Close to My Soul is Public Café(1986). This piece, featured in the header above, feels like a fragment of a larger narrative, portraying three men seated in a traditional public cafe within an old village setting. In the background, elements of classic Qatari architecture are clearly visible, while three goats wander freely through the village, adding a sense of everyday life. The composition offers a quiet yet evocative glimpse into communal life in Qatar's past.

A remarkable early artwork by Jameela Al-Shraim in the collection of Abdulla bin Ali Al Thani is Palm Tree (1988). In this piece, the artist presents a close-up depiction of two young palm tree trunks, evoking themes of endurance and youthful vitality deeply rooted in cultural identity. The colour palette reflects a futuristic sensibility intertwined with a sense of uncertainty, adding layers of complexity to the composition.

These works not only trace Jameela Al-Shraim’s early artistic explorations but also reflect a facet of women’s cultural context in 1980s Qatar. Alongside other pieces in the exhibition, they provide a window into a formative era of the nation’s artistic and social history.

Fatima Mostafawi is the Middle East and West Asia curator at Mathaf: Arab Museum of Modern Art, and curator of the exhibition Qatar: Close to My Soul