Select Page

Leena Nammari is a Palestinian artist printmaker based in Scotland. She has exhibited within Scotland and Europe, as part of group exhibitions and has had a number of solo exhibitions. She is a master printmaker, in all aspects of printmaking, and though her ideas predominantly are analysed and broken down through printmaking processes, she has also worked in film, photography, bronze and ceramics.

Her undergraduate degree was a Ba (hons) Fine Art Printmaking from DJCAD, UoD and she also obtained an MFA in Art and Humanities from the same university in 2018. Though Leena Nammari worked for the longest time at Edinburgh Printmakers as studio coordinator and master printmaker, she also worked in a variety of places with a variety of groups, from Stills in Edinburgh to National Galleries of Scotland, Edinburgh Academy, Women’s Aid, always in pursuit of social engagement in projects, teaching photography and printmaking, mainly with marginalised groups, all the while, maintaining a politically engaged printmaking/making practice.

Her love of printmaking comes from the idea that it tends to be a social/communal activity. Working in a workshop, as staff/technician or as an artist, the opportunities that are passed on, the techniques shared, and the alchemical/science/mysterious part of the art making gives her great satisfaction.

There is an immediate camaraderie with makers. There is an immediate common ground to chat about, to pass on information, to share anecdotal stories and laugh at some of the consequences. Dabbling with Sculpture and Ceramics during her recent MFA solidified the maker in her, while pursuing her experiments with a printmaking eye.

She has used her Palestinian heritage and background as a basis to all her work, subtly loaded with the politics of the many, but always reflecting the personal. As all Palestinians, she has had her fair share of personal brushes with the occupation, whether personally having grown up there, through frequent visits home, or through her own family history; stories told and untold; mythologies embellished, and mythologies elaborated and folklores established.

Her images have something amiss in them, a sadness, an abandonment, a loss, something lacking, wrong, unclear, allowing a little pause in the viewer, a reflection, a slight abstraction and a flight of fancy, allowing the viewer to question a little what they have seen.

Leena Nammari is a Palestinian artist printmaker based in Scotland. She has exhibited within Scotland and Europe, as part of group exhibitions and has had a number of solo exhibitions. She is a master printmaker, in all aspects of printmaking, and though her ideas predominantly are analysed and broken down through printmaking processes, she has also worked in film, photography, bronze and ceramics.

Her undergraduate degree was a Ba(hons) Fine Art Printmaking from DJCAD, UoD and she also obtained an MFA in Art and Humanities from the same university in 2018. Though she worked for the longest time at Edinburgh Printmakers as studio coordinator and master printmaker, she also worked in a variety of places with a variety of groups, from Stills in Edinburgh to National Galleries of Scotland, Edinburgh Academy, Women’s Aid, , always in pursuit of social engagement in projects, teaching photography and printmaking, mainly with marginalised groups, all the while, maintaining a politically engaged printmaking/making practice.

Her love of printmaking comes from the idea that it tends to be a social/communal activity. Working in a workshop, as staff/technician or as an artist, the opportunities that are passed on, the techniques shared, and the alchemical/science/mysterious part of the art making gives her great satisfaction.

There is an immediate camaraderie with makers. There is an immediate common ground to chat about, to pass on information, to share anecdotal stories and laugh at some of the consequences. Dabbling with Sculpture and Ceramics during her recent MFA solidified the maker in her, while pursuing her experiments with a printmaking eye.

She has used her Palestinian heritage and background as a basis to all her work, subtly loaded with the politics of the many, but always reflecting the personal. As all Palestinians, she has had her fair share of personal brushes with the occupation, whether personally having grown up there, through frequent visits home, or through her own family history; stories told and untold; mythologies embellished, and mythologies elaborated and folklores established.

Her images have something amiss in them, a sadness, an abandonment, a loss, something lacking, wrong, unclear, allowing a little pause in the viewer, a reflection, a slight abstraction and a flight of fancy, allowing the viewer to question a little what they have seen.