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### Label
Label_1F95FF45_1011_C749_419C_722C0B820D95.text = About Exhibition
Label_0AA9AA48_1C07_B300_41B7_607025D47F62.text = English
Label_38769E89_1AC5_598B_41AE_13FE1CFBA73E.text = Jaffar Al Oraibi
Label_08F7DB88_1C1C_7100_419B_76556475C88B.text = The Artist
Label_09EEC6B4_1C1C_9307_41AF_BD3E773FC54E.text = The Exhibition
Label_1FA9EB32_1017_48C8_4176_0C2508DC114A.text = جعفر العريبي
Label_097E5107_1C03_B101_41A7_E6B7BB1EADD7.text = عربي
Label_39A49E78_1AC2_F88A_41B9_F47012F13696.text = عن المعرض
### Multiline Text
HTMLText_052BD930_1C04_911F_41A0_DA4A4F784155_mobile.html = If Maps Could Speak 1, 2, 3
2019
Multimedia etching/mixed media on paper
115 x 91 cm
Miniature, Reversed
(2021)
Gold and Silver gilding, natural pigments, water color, pencil on paper
160 x 112 cm
Mythical Synopsis
(2021)
Multimedia etching/mixed media on paper
mounted on canvas
298 x 552 cm
Multimedia etching/mixed media on paper
15 x 20 cm
If Maps Could Speak 4
2019
Multimedia etching/mixed media on paper
100 x 150 cm
STUDY
Multimedia etching/mixed media on paper
15 x 20 cm
The Whale that Ate the Moon 2020
Multimedia etching/mixed media on paper
94 x 147 cm
Untitled Topography
Multimedia etching/mixed media on paper
58 x 75 cm
Untitled Topography
Multimedia etching/mixed media on paper
58 x 75 cm
____________
If Maps Could Speak 1, 2, 3
إذا كان بإمكان الخرائط التحدث 1، 2، 3
(2019)
____________
If Maps Could Speak 4
إذا كان بإمكان الخرائط التحدث 4
(2019)
____________
The Whale that Ate the Moon
الحوتة التي ابتلعت القمر
2020
____________
Miniature, Reversed
منمنمة معكوسة
____________
Mythical Synopsis
موجز أسطوري
____________
Untitled Topography
طبوغرافيا بلا عنوان
____________
Untitled Topography
طبوغرافيا بلا عنوان
________
THE WHALE
THAT ATE THE MOON
The title of the exhibition, The Whale that Ate the Moon, is taken from a childhood tale that is imprinted on Jaffar Al Oraibi’s memory. The story was told on the occasion of lunar eclipses, where children would run out to the seashore in hope of glimpsing a whale while at the same time being warned to not look at the moon as that would invite bad luck. It is a tale that resonates through many cultures and across time and sets the stage for the artist’s latest body of work.
We see Al Oraibi return to a medium that also characterized his earliest artistic practice: print-making and etching in particular. A new style has permeated his recent work, driven by the fine lines characteristic of etching in combination with a contemporary
interpretation of traditional miniature painting. Most of the artworks in the exhibition are composites – tiles of individual etchings combined into a larger artwork by collage onto paper or canvas. To this the artist adds the human figure and anthropomorphic shapes in a broad, painterly strokes or other details in fine watercolor.
Two elements in particular recur in this body of work by Jaffar Al Oraibi – folk tales and maps.
Folklore is a manifestation of traditional knowledge. An increase in scientific knowledge has changed our understanding but traditional stories remain, exerting a strong influence on our imaginations. Whales in particular are associated with a wide range of myths and folktales and carry symbolic significance. From the Bahraini folktale surrounding the lunar eclipse, to the story of Jonas and the whale and Herman Melville’s tale of Moby Dick, the whale is a multivalent symbol of human interaction with the natural environment. Cartography is indicative of the human need to chart out the geographical environment and within a continuously evolving understanding of the universe is never static. Maps are also historical documents that embody particular colonial and institutional viewpoints. In the series If Maps Could Speak, we see excerpts of Bahraini maps with superimposed natural and architectural details – a date palm tree, the pre-historical burial mounds that dot the Bahraini desert landscape, historical Bahrain Fort with the cannons of Portuguese colonizers. Man is an imposing presence looming over the natural landscape. In Untitled Topography, NASA maps with gestural markings by the artist reflect on terrains as yet untouched by man.
In The Whale that Ate the Moon, Jaffar Al Oraibi presents us with a series of fictional scenes based on his extensive research into folktales and myths, historical maps and map-making. These elements are interwoven with Bahraini historical events across time
and space in compositions that aim to elicit connections and prompt questions within the audience. The artist reflects critically on prevailing narratives and histories by injecting chaotic markings and contrasting elements into the artworks.
Melissa Enders-Bhatia
Curator
Director, Art and Exhibitions Programming
Shaikh Ebrahim Center
_____
JAFFAR AL ORAIBI
IF MAPS COULD SPEAK, SERIES (2019)
Multimedia etching/mixed media on paper
If Maps Could Speak is a series of four works that investigates tensions within historical and sentimental map-making. This series presents the accumulation of Al Oraibi’s research on historical and contemporary cartography of Bahrain and the Arabian Gulf.
In the process of his research, the artist came across aged maps from the British colonial legacy, local cartographers, and institutionalized reproductions - which prompted him to create exhaustive surveys of each. These studies were then interjected by a collection of oral histories that recall alternate projections of land that have evolved with time.
Through drawing, and re-drawing the geographic borders of his homeland, the artist takes on the role of a historical revisionist who allows room for imagination in revisiting the past.
_____
JAFFAR AL ORAIBI
MINIATURE, REVERSED (2021)
Gold and Silver gilding, natural pigments, water color, pencil on paper
Miniature, Reversed mimics the visual language of miniature painting to reference traditional practices of storytelling in the Middle East. The artist weaves together Islamic geometric patterns from various geographies and time periods as a sign of reverence to their histories, but also to point to their entangled frictions.
The artist emphasizes the intimacy of craftsmanship through laborious processes of silver gilding and traditional pigment formulation to contextualize his practice within the vast historical practice of miniature painting.
His interjection within this art form, through combining and falsifying various regional folkloric myths, serves to question the authorship within visual storytelling practices in a contemporary framework.
_____
JAFFAR AL ORAIBI
MYTHICAL SYNOPSIS (2021)
Multimedia etching/mixed media on paper mounted on canvas
Mythical Synopsis is an assemblage of mixed media etchings that trace the evolution of humankind as conveyed through ‘factual’ and ‘fictional’ histories.
The work includes iconography of ancient civilizations, dreamscapes and cartography.
Each figure within the composition alludes to a different portion of the artist’s research on global and regional events that created a lasting imprint on contemporary life.
These subjects are depicted through a balance of loud gestural markings, and intricate, calculated grids to evoke the subjectivity of privileged stories that stand the test of time, and their societal repercussions.
_____
JAFFAR AL ORAIBI
UNTITLED TOPOGRAPHY, SERIES (2019)
Multimedia etching/mixed media on paper
The Untitled Topography series is composed of works on paper that present abstract natural landscapes interrupted by gestural markings. The central image within each frame is reproduced from the artist’s archives of NASA aerial topographies.
Al Oraibi blends vivid colors and intricate lines throughout this series to showcase utopian terrains that haven’t been corrupted by human intervention.
_____
JAFFAR AL ORAIBI
THE WHALE THAT ATE THE MOON (2020)
Multimedia etching/mixed media on paper
is inspired by a collection of childhood (الحوتة التي ابتلعت القمر) The Whale That Ate the Moon fables, religious stories, and folklore imprinted on Al Oraibi’s memory. In this work, the artist depicts a climactic moment where a whale emerges from the sea to attack a ship.
This narrative references the story of Jonah and the whale. However, the artist expands this storyline to encompass his own accumulation of societal myths and his relation to them. The title of the work is extracted from a local Bahraini myth that Al Oraibi recalls from his upbringing. During the event of a lunar eclipse, as a protective measure, children were ordered to refrain from staring into the moon to avoid the invitation of bad fate.
The artist’s reflects on these tales by applying a layered etching technique that invites moments of chaotic intervention within visual storytelling.
_____
Jaffar Al Oraibi
(b. 1976, Manama, Bahrain)
is a Bahraini multimedia artist and painter.
Al Oraibi holds a Bachelor degree in Education from the University of Bahrain, and is a member of the Bahrain Fine Arts Society. The artist’s work depicts his exploration of the individual’s role in society, with a particular focus on gender and class identity. Al Oraibi’s multimedia works are produced through a meticulous process that begins with observation, to executing layered sketches, etching, incision, and collaging. The artist emphasizes the importance of the laborious process as a component of his work that allows room for a multilayered, nuanced narrative. Al Oraibi’s dominant usage of gestural, chaotic markings often highlights the feeling of alienation between the individual and the group. Al Oraibi is represented by Al Riwaq Art Space.
IF MAPS COULD SPEAK, SERIES (2019)
Multimedia etching/mixed media on paper
If Maps Could Speak is a series of four works that investigates tensions within historical and sentimental map-making. This series presents the accumulation of Al Oraibi’s research on historical and contemporary cartography of Bahrain and the Arabian Gulf.
In the process of his research, the artist came across aged maps from the British colonial legacy, local cartographers, and institutionalized reproductions - which prompted him to create exhaustive surveys of each. These studies were then interjected by a collection of oral histories that recall alternate projections of land that have evolved with time.
Through drawing, and re-drawing the geographic borders of his homeland, the artist takes on the role of a historical revisionist who allows room for imagination in revisiting the past.
Jaffar Al Oraibi
(b. 1976, Manama, Bahrain)
Is a Bahraini multimedia artist and painter.
Al Oraibi holds a Bachelor degree in Education from the University of Bahrain, and is a member of the Bahrain Fine Arts Society. The artist’s work depicts his exploration of the individual’s role in society, with a particular focus on gender and class identity. Al Oraibi’s multimedia works are produced through a meticulous process that begins with observation, to executing layered sketches, etching, incision, and collaging. The artist emphasizes the importance of the laborious process as a component of his work that allows room for a multilayered, nuanced narrative. Al Oraibi’s dominant usage of gestural, chaotic markings often highlights the feeling of alienation between the individual and the group. Al Oraibi is represented by Al Riwaq Art Space.
MINIATURE, REVERSED (2021)
Gold and Silver gilding, natural pigments, water color, pencil on paper
Miniature, Reversed mimics the visual language of miniature painting to reference traditional practices of storytelling in the Middle East. The artist weaves together Islamic geometric patterns from various geographies and time periods as a sign of reverence to their histories, but also to point to their entangled frictions.
The artist emphasizes the intimacy of craftsmanship through laborious processes of silver gilding and traditional pigment formulation to contextualize his practice within the vast historical practice of miniature painting.
His interjection within this art form, through combining and falsifying various regional folkloric myths, serves to question the authorship within visual storytelling practices in a contemporary framework.
MYTHICAL SYNOPSIS (2021)
Multimedia etching/mixed media on paper mounted on canvas
Mythical Synopsis is an assemblage of mixed media etchings that trace the evolution of humankind as conveyed through ‘factual’ and ‘fictional’ histories.
The work includes iconography of ancient civilizations, dreamscapes and cartography.
Each figure within the composition alludes to a different portion of the artist’s research on global and regional events that created a lasting imprint on contemporary life.
These subjects are depicted through a balance of loud gestural markings, and intricate, calculated grids to evoke the subjectivity of privileged stories that stand the test of time, and their societal repercussions.
THE WHALE THAT ATE THE MOON (2020)
Multimedia etching/mixed media on paper
is inspired by a collection of childhood (الحوتة التي ابتلعت القمر) The Whale That Ate the Moon fables, religious stories, and folklore imprinted on Al Oraibi’s memory. In this work, the artist depicts a climactic moment where a whale emerges from the sea to attack a ship.
This narrative references the story of Jonah and the whale. However, the artist expands this storyline to encompass his own accumulation of societal myths and his relation to them. The title of the work is extracted from a local Bahraini myth that Al Oraibi recalls from his upbringing. During the event of a lunar eclipse, as a protective measure, children were ordered to refrain from staring into the moon to avoid the invitation of bad fate.
The artist’s reflects on these tales by applying a layered etching technique that invites moments of chaotic intervention within visual storytelling.
THE WHALE
THAT ATE THE MOON
The title of the exhibition, The Whale that Ate the Moon, is taken from a childhood tale that is imprinted on Jaffar Al Oraibi’s memory. The story was told on the occasion of lunar eclipses, where children would run out to the seashore in hope of glimpsing a whale while at the same time being warned to not look at the moon as that would invite bad luck. It is a tale that resonates through many cultures and across time and sets the stage for the artist’s latest body of work.
We see Al Oraibi return to a medium that also characterized his earliest artistic practice: print-making and etching in particular. A new style has permeated his recent work, driven by the fine lines characteristic of etching in combination with a contemporary
interpretation of traditional miniature painting. Most of the artworks in the exhibition are composites – tiles of individual etchings combined into a larger artwork by collage onto paper or canvas. To this the artist adds the human figure and anthropomorphic shapes in a broad, painterly strokes or other details in fine watercolor.
Two elements in particular recur in this body of work by Jaffar Al Oraibi – folk tales and maps.
Folklore is a manifestation of traditional knowledge. An increase in scientific knowledge has changed our understanding but traditional stories remain, exerting a strong influence on our imaginations. Whales in particular are associated with a wide range of myths and folktales and carry symbolic significance. From the Bahraini folktale surrounding the lunar eclipse, to the story of Jonas and the whale and Herman Melville’s tale of Moby Dick, the whale is a multivalent symbol of human interaction with the natural environment. Cartography is indicative of the human need to chart out the geographical environment and within a continuously evolving understanding of the universe is never static. Maps are also historical documents that embody particular colonial and institutional viewpoints. In the series If Maps Could Speak, we see excerpts of Bahraini maps with superimposed natural and architectural details – a date palm tree, the pre-historical burial mounds that dot the Bahraini desert landscape, historical Bahrain Fort with the cannons of Portuguese colonizers. Man is an imposing presence looming over the natural landscape. In Untitled Topography, NASA maps with gestural markings by the artist reflect on terrains as yet untouched by man.
In The Whale that Ate the Moon, Jaffar Al Oraibi presents us with a series of fictional scenes based on his extensive research into folktales and myths, historical maps and map-making. These elements are interwoven with Bahraini historical events across time
and space in compositions that aim to elicit connections and prompt questions within the audience. The artist reflects critically on prevailing narratives and histories by injecting chaotic markings and contrasting elements into the artworks.
Melissa Enders-Bhatia
Curator
Director, Art and Exhibitions Programming
Shaikh Ebrahim Center
UNTITLED TOPOGRAPHY, SERIES (2019)
Multimedia etching/mixed media on paper
The Untitled Topography series is composed of works on paper that present abstract natural landscapes interrupted by gestural markings. The central image within each frame is reproduced from the artist’s archives of NASA aerial topographies.
Al Oraibi blends vivid colors and intricate lines throughout this series to showcase utopian terrains that haven’t been corrupted by human intervention.
____________
100 x 150cm
Multimedia etching/mixed media on paper
أعمال طباعيّة متعددة الوسائط
____________
115 x 91cm
Multimedia etching/mixed media on paper
أعمال طباعيّة متعددة الوسائط
____________
15 x 20 cm
Multimedia etching/mixed media on paper
أعمال طباعيّة متعددة الوسائط
____________
15 x 20cm
Multimedia etching/mixed media on paper
أعمال طباعيةّ متعدّدة الوسائط
____________
160 x 112cm
Gold and Silver gilding, natural pigments, water color, pencil on paper
طلاء بالفضّة والذهب، أصباغ طبيعية، ألوان مائية، قلم رصاص على ورق
____________
298 x 552 cm
Multimedia etching/mixed media on paper mounted on canvas
أعمال طباعيةّ متعدّدة الوسائط على ورق مثبت على قماش
____________
58 x 75cm
Multimedia etching/mixed media on paper
أعمال طباعيةّ متعدّدة الوسائط
____________
58 x 75cm
Multimedia etching/mixed media on paper
أعمال طباعيةّ متعدّدة الوسائط
____________
94 x 147cm
Multimedia etching/mixed media on paper
أعمال طباعيّة متعددة الوسائط
_____
جعفر العريبي
إذا كان بإمكان الخرائط التحدث 2019
أعمال طباعيّة متعدّدة الوسائط
إذا كان بإمكان الخرائط التحدث عبارة عن سلسلة مكونة من أربعة أعمال تتناول التوترات في رسم الخرائط القديمة والعواطف التي تثيرها
يستعرض العريبي في هذه السلسلة خلاصة أبحاثه عن رسومات الخرائط التاريخية والمعاصرة للبحرين ومنطقة الخليج العربي، والتي صادف فيها خرائط قديمة تعود إلى عهد الاستعمار البريطاني وأخرى لرسامي خرائط محليين ونسخاً تعود إلى مؤسسات مختلفة. هذه البحوث دفعته إلى إجراء دراسة استقصائية شاملة لكل منها ومن ثم مقارنتها بمجموعة من الروايات المحكية عن تضاريس ومعالم هذه الأرض التي تطورت بمرور الوقت
ومن خلال رسم وإعادة رسم الحدود الجغرافية لوطنه الأم، يلعب الفنان دور المدقق للتاريخ الذي يتيح لنفسه مساحة للخيال في نظره لصفحات الماضي
_____
جعفر العريبي
الحوتة التي أكلت القمر، 2020
أعمال طباعيّة متعدّدة الوسائط
«الحوتة التي أكلت القمر» مستوحاة من مجموعة من الحكايات الأسطورية للأطفال والقصص الدينية والفولكلور المحفور في ذاكرة العريبي. يصور الفنان في هذا العمل لحظة خروج حوت من البحر ليهاجم سفينة في مشهد يستحضر أيضا قصة النيي يونس عليه السلام والحوت، مع إضافة عناصر تعبر عن تجربة الفنان الشخصية مع الحكايات الأسطورية المتداولة في المجتمع وعلاقته بها
عنوان العمل مأخوذ من أسطورة بحرينية يعرفها العريبي منذ نشأته مرتبطة بخسوف القمر، حيث كان الأهالي ينهون الأطفال عن التحديق في القمر اعتقاداً منهم أن هذا الفعل يجلب الفأل السيء
وهنا يعكس الفنان تأويله الخاص لهذه الحكايات من خلال أسلوب الحفر متعدد الطبقات لإضفاء نوع من الفوضى على السرد البصري للقصص
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جعفر العريبي
طبوغرافيا بلا عنوان 2019
أعمال طباعيّة متعدّدة الوسائط
تتكون سلسلة «طبوغرافيا بلا عنوان» من أعمال على ورق لمناظر طبيعية تجريدية تتخللها لمسات إيمائية
الصورة المركزية داخل كل إطار مستنسخ من أرشيف الفنان لطوبوغرافيات جوية التقطتها وكالة ناسا. يمزج العريبي بين الألوان الزاهية والخطوط المعقدة في هذه السلسلة لإنشاء تضاريس طوباوية لم يفسدها التدخل البشري
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جعفر العريبي
منمنمة معكوسة 2021
طلاء بالفضّة والذهب، أصباغ طبيعية، ألوان مائية، قلم رصاص على ورق
تحاكي «منمنمة معكوسة» اللغة المرئية لرسم المنمنمات في إشارة إلى ممارسات رواية القصص التقليدية في المنطقة، حيث ينسج الفنان أنماطاً هندسية إسلامية من مناطق جغرافية وفترات زمنية مختلفة للدلالة على المكانة التي يكنها لتاريخهم من جهة والإشارة إلى تعقيد تفاعلهم من جهة أخرى
كما يلفت الفنان إلى الطبيعة الحميمية التي تتسم بها الفنون الحرفية من خلال عملية التذهيب بالذهب والفضة والأصباغ التقليدية، لا سيما في سياق فن المنمنمات العريق
ومن خلال مداخلته بهذا الشكل الفني وجمعه مختلف الأساطير الفولكلورية الإقليمية وتزييفها، يشكك الفنان في مصادر ممارسات سرد القصص المرئية ضمن سياق معاصر
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جعفر العريبي
موجز أسطوري 2021
أعمال طباعيّة متعدّدة الوسائط على ورق مثبت على قماش
موجز أسطوري مكون من حفر على وسائط مختلطة ترصد تطور الجنس البشري وفق التاريخ الواقعي و الخيالي
يتضمن العمل أيقونات للحضارات القديمة ومناظر تخيلية وخرائط، كل عنصر منها يلمّح إلى جانب معين من بحث الفنان حول الأحداث العالمية والإقليمية التي ما تزال بصمتها على الحياة المعاصرة حاضرة
هذه الموضوعات تم تصويرها من خلال اللعب على توازن اللمسات الإيمائية الصاخبة، وشبكات الخطوط المعقدة لاستحضار خصوصية القصص التي صمدت رغم تقادم الزمن وتداعياتها المجتمعية
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الحوتة التي
ابتلعت القمر
استُلهم عنوان المعرض «الحوتة التي ابتلعت القمر» من حكاية شعبية حُفرت في ذاكرة الفنان جعفر العريبي منذ أيام الطفولة، وهي حكاية كانت تُحكي للصغار حين خسوف القمر. فقد كانوا آنذاك يهرعون إلى الخارج علّهم يرون الحوتة الأسطورية وسط تحذيرات من عدم النظر إلى القمر مباشرة لأن ذلك قد يجلب الفأل السيء. إنها حكاية موجودة بشكل أو بآخر في العديد من الثقافات والعصور، وتحضّر المشهد لأحدث مجموعة من أعمال الفنان
ثمة عنصران يتكرران في هذه المجموعة من أعمال جعفر العريبي - الحكايات الشعبية والخرائط. وبرغم تغيير اكتسابنا المعرفة العلمية لفهمنا فما زالت القصص التقليدية باقية باعتبارها تجسيداً للفولكلور الذي يعدّ شكلاً من أشكال المعرفة التقليدية، ولها تأثير قوي على خيالنا. فالحيتان ترتبط على وجه الخصوص بمجموعة واسعة من الأساطير والحكايات الشعبية وتحمل أهمية رمزية، بدءاً من الحكاية الشعبية البحرينية حول خسوف القمر إلى قصة النبي يونس عليه السلام والحوت ورواية هيرمان ملفيل الشهيرة «موبي ديك»، ويعتبر الحوت رمزاً للتفاعل البشري مع البيئة الطبيعية. أما الخرائط فتدل على حاجة الإنسان لرسم البيئة الجغرافية وفي إطار الفهم المتطور باستمرار للكون لا يكون أبدًا ثابتًا. الخرائط هي أيضًا وثائق تاريخية تجسد وجهات نظر استعمارية ومؤسسية معينة. في سلسلة إذا كانت الخرائط تتحدث ، نرى مقتطفات من الخرائط البحرينية مع تفاصيل طبيعية ومعمارية متراكبة - شجرة نخيل ، تلال الدفن التي تعود إلى ما قبل التاريخ والتي تنتشر في المناظر الطبيعية الصحراوية البحرينية ، وقلعة البحرين التاريخية مع مدافع المستعمرين البرتغاليين. الإنسان هو وجود مهيب يلوح في الأفق فوق المناظر الطبيعية. في طبوغرافيا بلا عنوان ، تعكس خرائط ناسا التي تحمل علامات إيمائية للفنان تضاريس لم يمسها الإنسان بعد
يقدم لنا جعفر العريبي في معرض «الحوتة التي ابتلعت القمر» سلسلة من المشاهد الخيالية المستوحاة من سبره أغوار الحكايات والأساطير الشعبية والخرائط القديمة، وشبك عناصرها مع الأحداث التاريخية البحرينية عبر الزمان والمكان في تراكيب رائعة تبرز الروابط وتدعو الجمهور لمساءلتها، والتي أضفى عليها الفنان خطوطاً وأشكالاً مدروسة وأخرى فوضوية وعناصر أخرى متنافرة كوسيلة للتعبير عن تأملاته النقدية حول حقيقة تلك السرديات والتاريخ السائد
ميلسيا إيندرز باتيا
القيم
مدير برامج الفنون والمعارض
مركز الشيخ إبراهيم للثقافة والبحوث، البحرين
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جعفر العريبي
مواليد 1976 - المنامة، البحرين
جعفر العريبي رسّام وفنان وسائط متعددة من البحرين. حصل العريبي على شهادة بكالوريوس التربية في التعليم من جامعة البحرين وهو عضو في جمعية البحرين للفنون التشكيلية. يصوّر هذا العمل الفني رحلة الفنان في استكشاف دور الفرد في المجتمع مركزًا على الهويات الجندرية والطبقية. ينتج العريبي أعماله الفنية ذات الوسائط المتعددة عبر عمليةٍ دقيقة تبدأ بالمراقبة، ويتبعها إعداد التخطيطات والنقوشات ومن ثمّ التحديد وصنع الكولاجات
يركز الفنّان على أهمية خوض هذه العملية الصعبة كعنصر أساسيٍ من العمل الفني، حيث أنها تخلق مساحة للتأمل العميق والتعاطف مع الأشياء ونقل سرديةٍ دقيقة التفاصيل ومتعددة الطبقات. يوظف العريبي تقنية مرنة وإيمائية يسيطر فيها العنصر الأسود لكي يسلط الضوء على شعور الاغتراب بين الفرد والجماعة. العريبي فنان يمثله مساحة الرواق للفنون