(MENAFN- Gulf Times) The Fire Station: Artists in Residence is set to host two unique exhibitions on November 13, unveiling the work of two established Qatar-based artists from its 2025 Ruwad in Residence programme.

The exhibitions,“And Then, A Return” by Fatma al-Naimi and“What Remains to Be Seen” by Aissa Deebi, will open simultaneously at 7pm and remain on view until December 13.

Both artists are presenting the outcome of their residency under the Ruwad in Residence programme, which was launched in 2021.

The initiative is designed to support established Qatar-based artists, ensuring an ongoing connection between the Fire Station and local talent of different career levels to foster an exchange between established and emerging artists.

At Gallery 3, al-Naimi's latest series,“And Then, A Return,” unfolds a deeply introspective visual narrative that explores the dynamic interplay between moments of control and surrender.

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Aissa Deebi's“What remains to Be Seen” at Gallery 4.

The title itself captures the rhythm of her work: a journey through uncertainty followed by a reflective ending that carries the weight of transformation.

Through layered compositions, al-Naimi contemplates the fundamental cycles of life and emotion, where every disruption ultimately finds its quiet resolution. She introduces flowers as recurring motifs, utilising them as powerful symbols of hope and renewal.

These floral forms emerge as“quiet witnesses to resilience, signs of life's persistence even amid instability,” inviting viewers to appreciate the beauty inherent in impermanence and the strength found in vulnerability. For al-Naimi, the act of painting becomes both a reflection and a means of reconciliation.

Meanwhile, Deebi's exhibition,“What remains to Be Seen,” takes over Gallery 4 with a confrontational focus on vision, power, and resistance in the contemporary age.

Deebi's paintings directly challenge systems of power and surveillance that have weaponised vision, aiming to reclaim the image for human and moral expression. His work actively refuses the“aerial gaze that flattens cities into co-ordinates and lives into data,” positioning seeing as an essential ethical act.

Using the thought“slowness of paint and gesture,” Deebi resists the high-speed acceleration of modern visual culture. His canvases often feature evocative grey fields and fractured horisons that suggest cities“after impact”, where white signifies erasure and black is a residue of what endures.

Citing Ghassan Kanafani's seminal novella, Deebi transforms the act of looking into an existential question: what remains when all has been lost? The artist asserts that to see in this context“is to endure and to endure is, itself, an act of resistance”.

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