In this exclusive interview, Salim AlSalami shares his artistic journey, inspirations, and approach to painting. From color and subject choices to the interplay between spontaneity and discipline, he opens a window into his creative process and his deep connection to Oman.

1. What does color mean to you?

Color, for me, is the first aesthetic value that strikes my eyes. I remember in my early school years, I would spontaneously interact with the colorful pages of textbooks. Color also represents a clear definition of the elements and objects around me; when a specific element is mentioned, the first thing that comes to my mind is its color composition. For this reason, color is a fundamental driver — we simply cannot imagine life without colors.

2. How do you choose the subject of your paintings?

The choice of a painting’s subject comes from my personal interests in my surroundings. While everything around us is beautiful and significant, the artist by nature seeks what stirs his soul. I am drawn to the greatness of humanity — its ability to shape the earth with timeless beauty: building homes, cultivating orchards, crafting doors, windows, traditional accessories, and clothing. These elements define my themes. When I walk through my village (my birthplace), my eyes delight in the walls forming our humble homes, their narrow alleys (sikeek), and winding earthen passages weaving between orchards founded on towering palm trees. I never forget the openness of the doors and the height of the windows (darayesh). Such details create the interconnected subjects I find myself immersed in.

3.  Which comes first: the idea or the moment?

The idea and the moment are two sides of the same coin, as both can produce a work of art. Which comes first depends on the specific subject of the painting. Generally, the idea occupies more space in terms of thought, mental processing, and practical execution until it reaches its final form. The idea often results from an accumulation of mental memory supported by real experience, which makes recalling it smoother, refining it, and shaping it for the viewer. As for the moment, it is often an immediate reaction to a stimulating news event or an important occurrence representing a social condition locally or internationally. Through it, the artist produces an unprepared artwork that expresses his emotions and feelings toward the situation. The moment does not necessarily have to be tied to a major event — it may be something within the artist’s personal, family, or social circle.

4. How do you deal with space in artwork?

Space in artwork is just as important as mass, as each supports the other. There is no value in space without a driving mass that defines it, and vice versa. They are completely interconnected, creating a visual contrast that enriches the overall composition of the artwork. This interplay helps guide the viewer’s eye smoothly, granting them unmatched enjoyment as they move from one area of the painting to another.

5. Do you see nature as a source of inspiration or as a dialogue?

Engaging with nature as a source of inspiration paves the way for a dialogue with it. Contemplation of nature naturally precedes questioning. What enables us to initiate a dialogue is understanding first. If you want to understand the nature around you, you must contemplate its contents and have a deep connection with it. Nature is the primary and ultimate source of inspiration for the artist. Imagine the extent to which an artist immerses daily in nature, as if seeing it for the first time  this is a profound indication that nature is constantly renewing. Nature’s possibilities surpass those of the artist, who strives to shape his visual captures with high sensitivity toward it. This interaction can be defined as a reaction resulting from direct inspiration from nature.

6. What do small details mean to you in painting?

Personally, I care about the small details in a painting as much as I care about large spaces and bold color strokes. I believe this gives value in terms of diversity in the painting’s content, but at the same time, I place small details with great attention, avoiding any excessive artificiality.

7. How do you balance spontaneity and discipline in a painting?

Spontaneity arises from understanding the medium, especially since I work with different intense mediums such as acrylics, watercolors, sometimes oils, and in the last five years, I have also explored digital painting. This continuous mix of different mediums generates absolute spontaneity and deep understanding. Discipline, on the other hand, is mostly related to the subjects that occupy the artist and framing his artistic message. An artist cannot deviate from the themes through which he has been recognized by the art community and society.

8. What painting still haunts you but you haven’t painted yet?

I have painted many national-themed works over the past years, and this has been a path I have followed. I still aspire to produce more in this regard. Many ideas I keep in mind, and I am eager to translate them into upcoming paintings, God willing. National themes are what most occupy me, and I hope to create a series of paintings in this direction.

9. How does place (Oman/abroad) reflect in your work?

It is very important to me that Oman is reflected in my artworks — Oman with its ancient past, bright present, and clear future. I often convey Omani culture in my works by blending authentic Omani values across its diverse geography into contemporary artistic forms far from conventional approaches. I also worked on a collection of paintings called “Memory of Generations,” through which I depict old Omani neighborhoods, characterized by simplicity and fully integrated with palm trees, trees, and flowers. This gives viewers, both locally and internationally, an impression of what Oman is and its authentic people who have shaped its land and places for centuries. I had the honor of having one of my paintings chosen by His Highness Sayyid Balarab bin Haitham Al Said to represent Oman and to be permanently displayed at the World Trade Organization headquarters in Geneva, Switzerland, as an artistic blend of Omani cultural identity and global openness.

10. What feeling do you want the viewer to experience first?

Many of my artworks, especially the “Memory of Generations” series, make the viewer feel nostalgia at first glance — nostalgia for the place, the neighborhood, the alleys, the mosque, the palm trees, and the cars. I try as much as possible to include elements and details that directly relate to the viewer and touch them personally. I receive many responses from viewers of different ages and backgrounds, and some of these impressions I learn from personally. The painting itself allows anyone standing before it to form their own understanding and unique interpretation, which gives the painting an aesthetic dimension and richness of meaning.

We would love to thank Salem AlSalami for generously sharing his journey, thoughts, and creativity with us. His art inspires and moves us, bringing the beauty of Omani culture to life.