Encircling Memory: Salem Al Salami and the Art of Belonging

In a quiet Omani village, where palm trees rise beside mud-brick homes and narrow alleys carry the echoes of generations, a circular structure wraps gently around the trunk of a palm.

The work is titled “Ta’alluq,” meaning attachment or steadfastness, and it reflects a deeply rooted relationship between people and place. Created by Omani visual artist Salim Al Salami, the installation stands as a poetic tribute to belonging, memory, and continuity.

Al Salami is a member of the Omani Society for Fine Arts, the International Watercolor , and the Italian organization Fabriano in Acquarello. He has earned awards and advanced positions in local exhibitions and competitions, and his work has been showcased internationally in cities such as Gloucester, Tokyo, Moscow, Fabriano, Sfax, Carthage, Amman, Doha, Cairo and Geneva. His artworks are held in collections across state and private institutions. Despite this international presence, his inspiration remains firmly anchored in the landscapes and stories of Oman.

The idea behind this installation grew from years of observing old Omani villages and their intricate details: wooden doors worn smooth by time, small windows filtering desert light, winding alleys connecting neighbors, and palm trees standing quietly at the heart of it all.

Rather than recreating these scenes in a purely realistic way, Al Salami approaches them with a subtle surreal touch. He reshapes reality just enough to invite viewers into a renewed visual experience.

In this work, a miniature village encircles a palm trunk in a complete 360-degree embrace. The circular form is deliberate. It symbolizes continuity, unity, and an unbroken connection between generations. In many traditional Omani settings, homes and palm trees grow side by side, forming a natural partnership between human life and the land. By allowing the village to wrap around the palm, the artist transforms this everyday relationship into a powerful visual metaphor for belonging.

For Al Salami, attachment is not simply an emotional state; it is a defining quality of Omani identity. Over time, Omanis have demonstrated a strong commitment to preserving their heritage while adapting to change. Living examples of this can be seen in places such as Harit Al Aqr in Nizwa, where historic neighborhoods continue to breathe with life. Restoration efforts across the country reflect a collective determination to protect architectural memory and cultural identity.

The layered houses in the installation rise gently above one another, simple in form yet rich in meaning. Al Salami associates these stacked structures with ambition and aspiration. Traditional homes may appear modest, but within them live individuals driven by curiosity, resilience, and a desire to contribute to their communities. The vertical arrangement subtly mirrors the human instinct to grow and reach upward.

The work is also deeply personal. Al Salami was born in the village of Al Washil in Wilayat Al Rustaq, bordered by mountains that shaped his childhood imagination. As a boy, he would climb to the mountain peaks and look down upon a panoramic view of his village: clusters of homes, groves of palms, winding paths, and the quiet rhythm of daily life.

Those moments left lasting impressions. The elevated perspective, the harmony between nature and settlement, and the quiet dignity of village life remain vivid in his memory.

Today, those stored images continue to fuel his creativity. Finding the right location for the installation presented its own challenges. The artist searched carefully for a palm situated near an old house, seeking a space where art and reality could naturally intersect.

Details such as a traditional irrigation channel and stone boundaries added depth to the setting. Even the direction of sunlight mattered. The way light touches the structure throughout the day enhances the dialogue between shadow and form, reinforcing the balance between imagination and authenticity.

Public response to the installation has been strong, drawing interest from art enthusiasts and members of the wider community. Yet Al Salami sees this work not as a conclusion but as a beginning. It represents an evolving approach that brings art closer to nature, inviting viewers to encounter creativity outside conventional gallery walls.

Through this circular village embracing a palm tree, Salem Al Salami offers more than a visual experience. He presents a reflection on endurance, memory, and shared identity. In a rapidly changing world, “Ta’alluq” gently reminds us that true progress does not require severing our roots. Instead, it invites us to hold onto them firmly, allowing attachment to become a source of strength, inspiration, and continuity for generations to come.