Thursday 21st November 2024
Open Monday - Saturday, 10am to 4pm. Closed Tuesday 5 November
Thursday 21st November 2024
Open Monday - Saturday, 10am to 4pm. Closed Tuesday 5 November
01 November 2024 - 01 March 2025
Australian Muslim Artists (AMA) is an annual shortlisted exhibition that provides a valuable platform for upcoming and established artists to showcase their work. This year’s immersive exhibition brings together the work of twenty visionary artists who have redefined the boundaries of artistic expression. Each artwork invites you to explore the artist’s unique perspective, pushing the envelope of creativity and challenging traditional notions of art.
From gripping compositions to striking installations, discover an array of styles, mediums and ideas that highlight the diversity and creative breadth of Muslim artists, bound by their dedication to navigating the evolving realm of contemporary art.
In 2024, the Islamic Museum of Australia celebrates our sixth year in partnership with La Trobe University, who sponsor the AMA Art Prize.
Mysha Islam
Children of War, 2024
Photography
40 cm x 50 cm
In Children of War, Mysha highlights the resilience and innocence of children affected by conflict. Through powerful imagery, the work seeks to evoke empathy and awareness, portraying young lives holding on to hope amid unimaginable hardship, and inviting viewers to reflect on their strength in the face of turmoil.
Mysha Islam, a Melbourne-based artist of Bangladeshi origin, balances her roles as a mother of four, teacher, conceptual photographer, and children's book author. Known for capturing universal narratives through everyday subjects and natural light, her work has been featured in National Geographic Your Shot and exhibited in the Immigration Museum and Islamic Museum of Australia. Her series Our Lockdown Days won the People’s Choice Award at the AMA 2021 exhibition. Mysha’s minimalist, storytelling approach conveys profound messages through simplicity.
Rosalind Noor
The Sovereign, 2024
Opaque watercolour, Australian natural pigments, ink, silver and gold on tea-stained Xuan paper
58.5 cm x 82.7 cm
Crafted amidst pre-referendum tension and post-rejection, The Sovereign depicts an allegory on Indigenous sovereignty and post-colonialism, and envisions a society centred on Indigenous voices and dismantled colonial legacies. As the Palestinian sunbird flies towards the simurgh and British robin quietly exits, the magpie challenges the viewer's allyship, whilst the traditional miniature techniques and Persian literary references expand the rich Islamic heritage into contemporary Australia.
Rosalind Noor, a British-Australian artist born in 1990 in England, specialises in traditional Islamic arts. Trained in Arabic calligraphy under Haji Noor Deen and illumination with Necati Sancaktutan, she merges classical techniques with contemporary perspectives. Her work, often using water-based media, ink, natural pigments, and precious metals, explores hybridity and cultural exchange. Noor’s art combines traditional motifs to foster cultural understanding and dialogue. She was a finalist in the AMA 2023 exhibition.
Ilham Ismail
Come to prayer, come to success, 2024
Fabric
103 cm x 52 cm
The motif of this artwork features side-by-side mini prayer mats, symbolising congregational prayer, or salat al-jama'ah. Each mat represents an individual's place in communal prayer, collectively forming a unified community. Ready for Muslims to stand shoulder to shoulder, the colours and patterns reflect unity and order. The piece conveys a message of hope, unity, and the transformative power of gathering in prayer and shared purpose.
Ilham Ismail is a fashion designer dedicated to empowering a generation of unapologetic Muslims who proudly embrace their faith while confidently thriving within Australian society. Holding an Honours degree in Fashion and Textiles from the University of Technology Sydney, Ilham is now pursuing a research degree focused on creating avenues for authentic Islamic fashion. Her work aims to enable individuals to stand firm in their beliefs while integrating into the diverse fabric of Australian life.
Khaled Sabsabi
Propaganda (part C), 2024
Acrylic, watercolour and gouache on dye diffusion thermal transfer prints
15 cm x 7 cm (7 pieces)
This work examines society's interaction with conflict and contested histories, aiming to reveal shared social values rooted in collective experience. It critiques the normalisation of filtered images that blunt emotions and expose contradictions, highlighting how propaganda and rising ideologies impact the fundamental truths of human equality and rights.
Khaled Sabsabi is an acclaimed award-winning multidisciplinary artist whose work centres on social justice, reflecting his experiences after migrating from Lebanon in 1978 to escape civil war. Early involvement in Western Sydney’s hip-hop scene alongside young Arabic, Aboriginal, and Pacific Islander communities helped establish social advocacy as the core of his practice. Through his art, Sabsabi explores human collectiveness and questions identity politics and ideology.
His work is widely held in both Australian and international collections, and his recent awards include the Creative Australia Award for Visual Arts (2023) and Mordant Family and Creative Australia Affiliated Fellowship (2024). Sabsabi has also represented Australia in prestigious international biennales, including Sydney, Shanghai, and Marrakech. He is represented by Milani Gallery, Brisbane.
Supina Bytol
Cocos Island Colony 1826 to 1955. A Journey from Uncertainty to Islam, Stories of Survival from The Archipalego to The Islands, 2024
Canson paper, photogravure plates, photo archives
4 cm x 15 cm x 21 cm
These works on paper consist of images carefully crafted to depict historical events leading to the settlement of the Cocos Islands and the establishment of the thriving Muslim Malay community in Western Australia. Sourced from photo archives, the images are arranged in collage form to represent the oral and written history of the Cocos Islands. The series comprises four images etched onto photopolymer plates on Canson paper in a monochromatic blue.
Cocos Island multidisciplinary artist Supina Bytol delves into the history of five generations of Cocos Malay survivors, who were enslaved labourers under British and Scottish occupation from 1905 to 1955. Her research from 2020 to 2024 involved oral histories with Cocos Islands family members in Western Australia, as well as academic and anthropological studies. Currently studying Arts Therapy on Wurundjeri Land, Supina’s art career began 25 years ago after winning The Iluka Visions Youth Art Award for printmaking at age 15.
Sher Ali Hussaini
Jali / The Net, 2024
Ink, gouache, gold and silver leaf on Fabriano paper
44 cm x 61 cm
In a time when societies feel fragmented, this work underscores the elegance and strength of interconnectedness, highlighting the unseen forces that bind us. Just as battlefields sow chaos, external pressures threaten the fragile peace we strive to uphold, forming a protective barrier—a shield of calm amid discord. This reflects our resilience and pursuit of harmony in a turbulent world.
Sher Ali, born in Kabul in 1983, began his artistic journey at a local art centre in Kabul (1993–1997) and later attended Kabul’s Art High School until 2003. Awarded a BFA scholarship by the South Asia Foundation, he studied at Beaconhouse National University in Lahore from 2009 to 2013. His works, exhibited in Afghanistan, Pakistan, Iran, Sweden, Vietnam, the UAE, the USA, Australia, and Hong Kong, are deeply rooted in poetry, culture, and history. Now based in Melbourne since November 2021, he creates thought-provoking artworks across diverse media, exploring themes of genocide, terror, and the resilient human spirit.
Sana Tayyab
Untitled, 2024
Water and poster colours on paper
2 cm x 63 cm x 94 cm
This freehand calligraphy features verses from Surah Al-Fatihah, rendered in stylised handwriting and enriched with watercolour. The artwork incorporates an elegant arrangement of natural flowers, with green colour prominently woven throughout to evoke the beauty of Allah’s creation.
The verses included from Surah Al-Fatihah express devotion and guidance:
إِيَّاكَ نَعْبُدُ وَإِيَّاكَ نَسْتَعِينُ
‘You alone we worship, and You alone we ask for help.’ (Quran 1:5)
ٱهْدِنَا ٱلصِّرَٰطَ ٱلْمُسْتَقِيمَ
‘Guide us on the Straight Path.’ (Quran 1:6)
Sana Tayyab is a Melbourne-based artist whose work explores the intersection of nature and calligraphy, often through unique compositions and varied media. Inspired by numerous artists in Pakistan, she is committed to sharing her talent by beautifully rendering the Names and verses from the holy Quran.
Her miniature artwork was showcased at Lahore College, and she was awarded first prize in textile design and lamp-pot painting at Lahore’s cultural complex in Pakistan.
Noor El-Sayed
The Dinner Table, 2024
Film
2:47 minutes
The Dinner Table explores citizenship in the context of freedom of speech, questioning its perceived existence and societal impact. The short film uses the metaphor of a dinner table, where small talk often displaces meaningful discussions on uncomfortable issues. This poignant work is inspired by the Palestinian diaspora experience in Australia.
Noor El-Sayed, an Australian-born Palestinian currently studying a Bachelor of Interior Design at RMIT, creates works that evoke a sense of dystopia to unpack social issues through film, poetry, and abstract painting. Inspired by her Palestinian identity, she values art’s ability to access emotional responses to societal challenges. Noor invites audiences to sit with the discomfort of placing themselves in others’ experiences.
Self Portrait Series (Image 001), 2023
Photography: Lambda print
75 cm x 100 cm
This work (dis)places Moroccan culture within an Australian context, specifically in a local milk bar the artist used to frequent during her childhood. Honouring her ancestry through costume in a familiar setting, she disrupts the notion of a singular cultural identity, celebrating plurality. By showcasing a contemporary female Muslim artist, the piece challenges social norms of Australian identity and reimagines how the feminine form can be visually represented.
Amal Laala (born Naarm/Melbourne, 1979) works across the countries of her ancestry and birth: Australia, Finland, and Morocco. As a socially engaged artist, educator, and researcher, she interacts with her heritage, public spaces, and communities to foster creative dialogues on socio-political and cultural issues. Her work has been produced with Design Museum Helsinki, Kiasma, Tate Britain, South London Gallery, and the Victoria & Albert Museum, and she has exhibited in Australia, Finland, Jordan, Macedonia, Morocco, the UK, and the U.S. Laala holds an MA in Environmental Art from Aalto University, a BA in Photography, and a diploma in Public Art.
Intan Teriaki
Don’t Steal My Watermelon, 2024
Acrylic & graphite on acrylic paper
29.7 cm x 42 cm
The character and figures in the artist’s work embody “imperfection,” a concept she describes as “the avant-garde of perfection,” reflecting her personal philosophy. She believes that the highest level of perfection in beauty belongs to Allah SWT, as stated in the Quran:
“The work of Allah who has perfected everything (He created)” (27:88).
Her drawing, Don’t Steal My Watermelon, serves as an analogy for “Don’t Steal My Land,” with the watermelon symbolising Palestinian solidarity amidst reports of online censorship.
Intan Teriaki is an Indonesian-born female artist residing and working on Gadigal Land (Sydney, Australia). Teriaki’s primary practice centres on painting and drawing. In 2013, she was invited to exhibit at the Japan NIPAF (Nippon International Performance Art Festival) in Tokyo, Osaka, and Nagano, alongside notable performance artists from Hungary, China, Ukraine, Nepal, Myanmar, Mexico, Poland, and Japan.
Soraya Abidin
The Cure, 2024
Textiles - Crochet hand dyed Thai rayon, silk, cotton, glass beads
L45 cm x W35 cm x D7 cm
The artist’s father, a Malay Muslim, passed away when she was very young, and with him went much of her Islamic teachings. As an adult, she is on a journey of rediscovery, learning what it means to be Muslim. This year, she participated in Ramadan for the first time by fasting, experiencing it as a profound spiritual journey. During daylight hours, she began crocheting dates—symbolic for their mystical properties and healing qualities.
The Prophet Muhammad (صلى الله عليه وسلم) said, “Indeed in dates there is a cure.”
In the act of creating, she observed her mind and body’s demands from a new perspective, considering the transience of life and wondering if Allah’s remedy might truly heal both global conflicts and personal maladies. In The Cure, she honours the date's 22 references in the Qur’an and its holiness as a traditional staple, symbolising devotion.
Depicted in stages from Hababouk and Khalal to Tamer, the dates represent her growth as a Muslim.
Following the Prophet’s tradition of breaking fast with a date, she felt its restorative magic, soothing her body and mind from daily cravings. This ritual became a bridge to Allah and a remembrance of her father.
Soraya Abidin is a contemporary textile artist whose works explore the notion of interculturalism through beading, embroidery, quilt crafts and wood carving practised by her Malay and Australian ancestors. Through the pairing and clashing of these materials and techniques, Soraya’s art materialises the “in-between” spaces existing in bicultural identities: they are unable to be divided and continuously spill into one another. Soraya’s works have been exhibited and published both across Australia and internationally including Soft Touch, 4A Centre for Contemporary Asian Art, and Speculation Nation, Craft ACT.
Amber Hammad
Ranjha Ranjha, 2024
Acrylic paints,watercolors & inks, tea & coffee stains, on handmade Vasli paper
28 cm x 35 cm each (two panels)
Muslim mystics, or Sufis, deeply explore the connection between the human and the divine. Bulleh Shah, a 17th-18th century Sufi from present-day Pakistan, often invoked the love story of Heer Ranjha in his poetry to symbolise the soul's yearning for the divine. This self-portrait, created through painting as a meditative practice, explores themes of love and unity within the boundlessness of existence. It reflects the rich global history, remarkable artistic diversity, and varied spiritual practices of Muslims.
Amber Hammad, a Pakistani-Australian multidisciplinary artist, delves into her identity as a migrant Muslim woman. Her works are featured in notable collections and have been exhibited globally, including at Museo Poldi Pezzoli, New York’s Apexart, and the Art Gallery of NSW. She is currently a PhD candidate at the University of Sydney.
Nasser Palangi
Collective Memory, 2023
Mixed media on cardboard paper
240 cm x 240 cm (12 set works 60x 80 cm each)
The Collective Memory-Middle East series uniquely examines Middle Eastern heritage, history, and culture through a blend of collage and painting. It reveals the intricate layers of daily life, capturing the rich diversity of the region by weaving together fragments of time, memories, and cultural symbols to reflect Middle Eastern identity.
Nasser Palangi, an Australian-Iranian artist and academic, bridges cultures through his art. Born in 1957 in Hamedan, Iran, and now residing in Sydney, he was awarded a distinguished talent visa by Australia in 2001 and a Golden Visa by the Emirates in 2022. Over the past fifteen years, he has explored Middle Eastern nature, people, and cultural values.
Sam Dabboussy
Without Fear or Favour, 2024
Oil and paper on board
53 cm x 66 cm
Without Fear or Favour features four Australians—Senator Mehreen Faruqi, Senator Fatima Payman, journalists Jan Fran and Antoinette Lattouf—who have courageously spoken out on the Gaza tragedy. Each has shown remarkable bravery, voicing their views without concern for personal or professional repercussions, and are deserving of recognition.
Sam Dabboussy is a self-employed carpenter and high school art teacher working with oils and watercolours. He has been a finalist in various art prizes, including the Elaine Birmingham Art Prize for Looking Out, Looking In, which addresses Australia’s Indigenous cultural dynamics post-referendum. Dabboussy won the AMA Art Prize in 2022 and has been a finalist three times.
Fatima Killeen
They tried to bury us, they didn't know we were seeds, 2024
Collagraph print on paper
60 cm x 85 cm
The large-scale aggression in Gaza, likened to an earthquake, includes outlawed phosphorus bombings and the targeting of children, a recognised war crime. Israel and its allies should be held accountable for human rights violations. This artwork features Che Guevara’s Arabic quote, “They tried to bury us and did not know we were seeds,” symbolising resilience against oppression.
Born in Casablanca, Fatima Killeen studied at Morocco’s School of Fine Art before moving to Australia in 1994 to complete a Bachelor in painting and printmaking at ANU’s Canberra School of Art. Her work explores anti-war themes and humanitarian issues in conflict zones. Fatima’s pieces are held by notable institutions, including the Australian War Memorial, ANU, and the National Museum of Australia, and in 2021, she won the AMA Art Prize.
Tarek Eissa
وعد, 2024
Engraving on Wood
42 cm x 72 cm
This artwork presents a freeform Arabic calligraphy of the Quranic verse from Surah Al-Baqarah:
"Unquestionably, the help of Allah is near" (الا ان نصر الله قريب) (Quran 2:214)
shaped to represent the land of Palestine. This design symbolically intertwines the spiritual message with a powerful geographic and cultural identity.
Tarek Eissa holds a Bachelor of Applied Arts in printing, publishing, and packaging, with a focus on Pharaonic, Coptic, and Islamic art. He has designed logos for numerous companies in Egypt and the Middle East and has participated in various group exhibitions centred on Arabic typography. A certified consultant from the Egyptian Designer Syndicate since 2016, Tarek is passionate about calligraphy and typography.
Zahidah Zeytoun Millie
Canoe Art Installation, 2024
Mixed media
The Canoe Art Installation underscores the vital role of mangroves in combating climate change while addressing their global threats. Comprising five elements, it includes a painting of the mangrove ecosystem, silk prints exploring nature's duality, and a handcrafted canoe symbolising traditional craftsmanship. A circular wooden base adorned with laser-cut Arabic calligraphy connects cultural heritage to nature, while ambient sound recordings immerse viewers in the environment.
Tactile elements encourage interaction, bridging the spiritual and physical realms, the contrast between the softness of silk, the roughness of hessian, and the wooden base invites deeper engagement.
Orange highlights draw viewers into a space where past, present, and future converge, reflecting the cyclical nature of time and the eternal divine. This installation represents the artist's journey, embracing traditional techniques to express their perception of the mangroves—home. It explores identity, continuity, and the connections between nature and culture. The artist remains flexible regarding the inclusion of all five elements to adapt to space constraints while preserving the work's integrity. Ultimately, the installation aims to inspire community harmony through environmental stewardship, with Islamic motifs, particularly Arabic script, highlighting the universality of Islamic values and the contributions of Muslims to Australian society and ecology.
As a multidisciplinary artist, Zahidah’s work focuses on mangrove forests and their ecosystems, explored from a kayak. She initiated the Mangroves from the Water campaign in 2013, developing a visual language for their preservation. A finalist for the AMA in 2020, she has exhibited internationally and completed residencies in the USA, Italy, and the UAE. Currently pursuing a PhD at Deakin University, she represented the UAE at the 2022 Smithsonian Folklife Festival.
Atol Abourki
Birds on a tree, 2024
Acrylic on paper
Globally, people long for an end to the war on Gaza. Their hope is for peace to return, bringing smiles back to the faces of Gaza’s children. The prayers of ordinary people call for the reconstruction of this land, dreaming of a time when birds return to Gaza’s trees, free from bombs. Poetically, the word "Gaza" (غزة) in Arabic is depicted with bird bodies and heads forming the dots, symbolising life, resilience, and the hope for safety.
Abdul Rahman (born 1963), also known as Abdul or Atol, is an artist with a 30-year career shaped by a creative family and his experiences in Europe. In addition to his artistic pursuits, Abdul is an experienced analytical chemist with expertise in laboratory work and quality control. A multilingual speaker, Abdul paints with deep inspiration from nature and his countryside surroundings, finding creative fuel both within and in his environment.
Despite facing vision challenges due to macular degeneration, he continues to paint, adapting his work with the aid of a torch and large canvases. Abdul has held seven exhibitions in Greater Shepparton City, including four at the Shepparton Art Museum. He is also an active volunteer with Indigenous communities, which he finds as a profound source of learning and respect.
Hala Sekak
Resilience in Ruins, 2024
Mixed media
W60 cm x L140 cm x D4 cm
This artwork poignantly captures the Palestinian struggle, symbolising hope amidst adversity. A cracked cement map of Palestine reflects conflict's scars, while green branches and crimson flowers signify life and sacrifice. Emerald birds, embodying hope and defiance, soar above, illuminated by ethereal clouds.
Hala has exhibited her artwork widely across Australia and internationally, including
Turkey, Jordan, the USA, Pakistan, Iran, and Saudi Arabia. Alongside interior design projects, she has led public resin art workshops and received awards in resin, jewellery, and fused glass art. A finalist in the 2021 Blue-Thumb Art Prize, her work has also appeared in the 2022 Spring into Summer Art Show, Knox Art Exhibition, 2023 Art Red Hill, Bendigo Art Show, and Portland Art Show. Her pieces have been selected by ARAMCO for recreation centres and VIP gifts, and she was featured in Al-Arabia online news.
Marwa Charmand
A Testimony to Faith, 2024
Ink on paper
96 cm x 76 cm
For nearly a year, Palestinians have demonstrated incredible resilience amid a livestreamed genocide. Despite Islam often being misrepresented, mocked, and questioned, the Palestinian people have shown the world the strength of faith. A Testimony to Faith invites viewers to pause, reflect, and question not only personal faith but also our roles and values. If young boys can hold faith and pray through such adversity, then humanity must strive to do better.
Marwa Charmand is a Western Sydney visual artist, educator, and graphic designer who has dedicated over a decade to highlighting communities impacted by war. In 2022, she was commissioned by the International Committee of the Red Cross for a year-long project touring Australia. Marwa has received multiple awards and contributed to notable projects, including VIVID Ideas Sydney 2017. Her focus on the effects of conflict honours her own family’s resilience in the face of war.
Nominate your favourite artwork for the Australian Muslim Artists 2024 People's Choice Art Prize.
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