‘The space {between}’: Zeinab Saleh @ David Zwirner London

Zeinab Saleh’s exhibition, ‘The space {between}’ at David Zwirner’s London gallery, feels like stepping into a dream you can’t quite hold onto. Through layers of ethereal blues and soft, hazy textures, Saleh blurs the boundaries between familiarity and fantasy, creating an exhibition that sneaks up on you; its deceptively quiet visuals linger long after you’ve left the space, evoking the nostalgia of a fading memory.  

‘The space {between}’ is an exhibition that flows seamlessly across two rooms, presenting a cohesive body of work that feels both intimate and expansive. The first room leans heavily into abstraction. The paintings here are suggestive rather than definitive—hints of forms drift in and out of focus, emerging from a dreamy palette of misty whites and watery blues. There’s a meditative quality to this space, where shapes feel as though they’re materialising from the fog of memory, showcasing Saleh’s distinctive approach to abstraction and her ability to evoke deeply personal reflections without ever resorting to overt narrative. 

Installation views, Zeinab Saleh: The space {between}, David Zwirner London, 27 November 2024—11 January 2025.  

© Zeinab Saleh.  Photo Courtesy: the artist, Château Shatto and David Zwirner 

As you move into the second room, the palette begins to shift. The works introduce hints of yellows and warmer tones, adding fresh energy while still connected to her other works by the thread of varying hues of blue. The imagery becomes more discernible, offering glimpses of domestic objects and organic shapes that elevate the mundane to the poetic, reflecting the artist’s cultural and personal experience. These pieces feel more rooted, as if moving from the intangible into something just shy of tangible, giving visitors more footholds for interpretation. Yet, even here, Saleh avoids easy answers; her forms remain enigmatic, keeping viewers in a state of contemplation. 

Installation views, Zeinab Saleh: The space {between}, David Zwirner London, 27 November 2024—11 January 2025.  

© Zeinab Saleh. Photo Courtesy: Château Shatto and David Zwirner

Saleh’s works have a deceptive simplicity that draws a double take. At first glance, one might think: “I could do that.” But could you? A closer inspection reveals layers of meticulously applied and removed paint, washes of varying viscosity, and a masterful interplay of tones. This careful attention transforms seemingly simple works into profound meditations on texture, time, and memory. Up close, it becomes clear how much care has gone into balancing translucency with opacity, and chaos with control. Her technique is rooted in subtlety—a quality that requires as much restraint as it does skill—resulting in a level of detail that rewards patience. 

One standout piece, Three Oceans Away (2024), exemplifies this balance. At its edges, overlapping floral patterns evoke embroidered linens or familiar domestic textiles, but at the centre lies an ambiguous void. Personally, I see a stingray, but from this artistic Rorschach test, I’ve heard responses ranging from bedsheets to a butterfly to something entirely otherworldly and ‘else’. Nonetheless, this ambiguity invites viewers to fill in the gaps with their own memories and emotions. 

Zeinab Saleh, Three oceans away (2024), Acrylic on linen. © Zeinab Saleh. Photo Courtesy: the artist, Château Shatto and David Zwirner 

Similarly, in Waiting (2024), a crocodile lurks in a bubbling blue sea, its gaze is quietly menacing yet restrained, leaving you unsure if it’s about to strike or retreat. Textiles swirl like they might come alive, treading a line between the familiar and the surreal, evoking an almost Alice-in-Wonderland-like sensation of entering a world that feels recognisable yet fantastical. Saleh has masterfully crafted a space where subtlety reigns. There’s no grand spectacle here, no harsh demands on the viewer’s attention. Instead, her works invite you to slow down, look closely, and feel. It is this understated approach that makes ‘The space {between}’ so memorable, as each piece offers a glimpse into Saleh’s rich, imaginative world. 

Zeinab Saleh, Waiting (2024), Acrylic and coloured pencils on linen. © Zeinab Saleh. Photo Courtesy: the artist, Château Shatto and David Zwirner. 

One of the exhibition’s most striking aspects is its design. There are no explanatory notes or placards, and you’re left to navigate the space and interpret the works on your own terms uninterrupted. As a whole the exhibition is cohesive and fluid, with each painting feeling like a fragment of a larger narrative. The transitions between the two rooms—one abstract and hazy, the other more vivid and detailed—feel intentional, mirroring the way memories evolve and change over time. There’s a natural rhythm to the show, a quiet confidence in its pacing and presentation. What ties everything together is Saleh’s clear narrative voice. These works may feel abstract, but they’re deeply rooted in her personal experiences. Everyday objects like prayer mats, embroidered linens, and sleeping pets recur throughout the exhibition, transformed through Saleh’s process into something quietly melancholic but comforting.  

Despite the quietude, there’s a surprising energy in the details. The textures, the interplay of light and shadow, the subtle use of yellows breaking through the blues—they keep your eyes moving, your mind engaged. Each piece feels alive, as if it’s still in the process of becoming. The fragmented narratives Saleh creates reflect the fluidity of memory itself, where moments blur together and details come in and out of focus. As such, the exhibition’s title couldn’t be more fitting. Saleh’s works occupy a liminal space—between abstraction and representation, memory and reality, familiarity and mystery—connecting the abstract with the semi-figurative and guiding viewers through a narrative arc that is as much about emotion as it is about aesthetics. 

‘The space {between}’ is an opportunity to witness Saleh’s mastery of how less can be more, proving that restraint and nuance can speak volumes. Her blend of abstraction, texture, and narrative wonderfully captures the essence of fleeting memories with grace, leaving a lasting impression that the works themselves are slipping away like in a dream. If you’re in London—don’t let the opportunity to see this show slip away from you too! 

‘The space {between}’ is on at the David Zwirner Gallery London from November 27th 2024 to January 11th 2025. 

Nicole John  

Reviews Co-Editor, MADE IN BED