Collector Series: Reem El Roubi and Amir Daoud Abdellatif Collection
El-Anatsui, Ancient Text, Assorted Tropical Hardwood, 2021, 160 x 260 cm, Reem El Roubi and Amir Daoud Abdellatif Collection.
Reem El Roubi and her husband, Amir Daoud Abdellatif, see themselves as custodians of art and cultural heritage. Their passion for collecting is driven by a deep appreciation for artistic expression and a commitment to preserving and amplifying voices from the regions they hold dear. Originally from Sudan, their journey as collectors began when they moved from London to Dubai in 2013, shaping a collection that weaves together Sudanese, African, and Middle Eastern art - connecting historical narratives with contemporary perspectives.
Reem plays an active role in the art world, serving on Tate’s Africa Acquisitions Committee [1] and supporting institutions such as Louvre Abu Dhabi, Sharjah Art Foundation, and The Dubai Collection. Her approach to collecting balances intuition with critical appreciation, focusing on works that bridge past and present, tradition and innovation.
Their collection includes eight pieces currently featured in The Dubai Collection, showcasing pioneering Sudanese artists Ibrahim El-Salahi, Kamala Ishag, and Ahmed Shibrain, alongside contemporary works by Salah ElMur and Victor Ekpuk. It also features a striking hardwood relief by internationally acclaimed Ghanaian artist El Anatsui.
Salah El Mur, Untitled, Oil on Canvas, 2008, 69 x 69 cm, Reem El Roubi and Amir Daoud Adbellatif Collection.
Reem El Roubi
Q: Did you set out to become a collector, or did it happen more organically?
No, I didn’t set out deliberately on this journey. It really started with buying art for our home first in London and then later in Dubai. Before that, I had been part of a group in London called the Exhibition Circle, which took us to different galleries. It was a knowledge-based initiative rather than a collectors’ group, and it gave me a fascinating introduction to the art world. We visited galleries rather than museums, and that’s where my curiosity about art really started to grow.
When we moved, I started to think more seriously about collecting art, especially after I furthered my studies to learn about the art market and the wider ecosystem.
Q: What was your first art acquisition in Dubai, and how did your collecting journey evolve from there?
My first discovery was actually a local ceramic making studio. I loved finding a creative space like that in Dubai, and I ended up buying a lot of our crockery there - I've always been drawn to unique, one-off pieces.
The first artworks I purchased were by young Cairo-based Sudanese artists Omar Kamal El-Din, Motaz al-Imam and then, a piece by Mexico-based artist Zhivago Duncan. From there, my collecting journey began.
Not long after, we did a family trip to Australia, and I wanted to bring home an Aboriginal artwork. We visited a gallery in Sydney with our four young children and ended up spending seven hours there, exploring all three floors. I had so many questions and was completely drawn in. In the end, I chose a piece by Yinarupa Nangala; I loved the colours, and later I realised she was an important artist. When Louvre Abu Dhabi opened, her work was included in one of its exhibitions, which felt like a full-circle moment.
Q: How would you describe yourself as a collector today?
We left Sudan at 16 to study in the UK, so we grew up with a blend of cultures. At heart, though, we are deeply Sudanese. Sudan itself is a cultural crossroads; a place where the Arab world and sub-Saharan Africa meet, and I often describe it like a mixed-race child with influences from both African and Arab sides. That might sound like an odd thing to say but that is what makes us unique. Within that, my Nubian heritage adds another layer. Starting our family in London exposed us to even more perspectives, and moving to Dubai expanded that further. This diversity naturally shapes how we collect.
For us, collecting has always been about passion rather than investment. The moment you approach it too methodically, it loses its charm. However, as our collection has grown in reputation, I’ve come to see it as a responsibility, not just to collect, but to bring certain Sudanese artists into the spotlight – like Taj El-Sir Ahmed, Omar Khairy, and Salah Elmur. We’ve also most recently acquired South African artists: William Kentridge, Esther Mahlangu and Kendell Geers.
I once heard collectors described as custodians, and that deeply resonates with me. I also make a point to research artists’ careers and collect works that mark significant moments in their artistic journey. Whenever possible, I build relationships with the artists themselves and have been fortunate enough to have met many of the artists that we have acquired works from. For example, Kamala Ishag has become a close friend - she lives in Sharjah now, and I often visit her for tea.
Q: Can you tell us more about Kamala Ibrahim Ishag and your connection to her work?
Dare I say Faces is my favorite piece of hers in my collection? She loves it too, and it wasn’t easy to convince her to part with it. Kamala has such a distinctive style, and for her time, she was undoubtedly considered a feminist. Her work often explores how women are confined by societal expectations.
A recurring motif in her art is a massive tree that stood in her father’s house in Khartoum where she lived. It was nearly a hundred years old and became central to her work as a symbol of life. She was also part of the Crystalist movement, where she painted women inside glass cubes. Woman in Cubes is in my collection, and of course, The Dubai Collection too. It’s the one that always goes on loan. It was exhibited in the Netherlands before she won the Prince Claus Award, and later, it travelled to the Serpentine Gallery in London.
In fact, it was after I started collecting Kamala’s work that I decided to acquire pieces of other artists from the Khartoum School and it is with great pride that today I have pieces from both Ibrahim El-Salahi and Ahmed Shirbrain.
Ibrahim El-Salahi, Untitled, Ink on Paper, 1964, 24,5 x 21,7 cm, Reem El Roubi and Amir Daoud Abdellatif collection
Q: Why are they particularly special to you?
El-Salahi almost goes without saying, he is one of the kings of African art. His influence is undeniable. Ahmed Shibrain holds a more personal significance for me. He knew my father very well. In fact, he designed our garden in Khartoum. I always knew he was an artist, but to me, he was a family friend. My father had another close friend who designed a 1960s Art Deco style house full of curves, and Ahmed created the garden to complement it.
Ahmed Shibrain, Untitled, Oil on Canvas, 1998, 80 x 80 cm, Reem El Roubi and Amir Daoud Abdellatif Collection.
When I later came across his work, I was incredibly excited, it brought back memories of my childhood and my father. I hadn’t realised at the time just how significant he was in the art world. But that’s very Sudanese, our culture values humility, and many great artists never saw the need to proclaim their importance.
Q: Can you tell us about the El Anatsui work in your collection?
Acquiring an El Anatsui piece was a significant moment in our collecting journey. I never imagined we would own one of his works because he’s an artist I associate with museums and monumental installations.
When I heard that a gallery in Dubai was opening with an El Anatsui exhibition, I was astounded. The opportunity to see his work up close, let alone acquire one, felt surreal. I chose the piece within minutes – it was an immediate, instinctive decision. For me, it elevates the entire collection. I was also incredibly fortunate to have had the chance to meet him and share a dinner together, which made the experience even more special.
Q: What do you think of The Dubai Collection?
I love the concept, and I appreciate the focus they’ve placed on my collection. Their professionalism is truly impressive, and I hope the initiative continues to inspire others to collect and contribute. It plays a crucial role in strengthening the ecosystem that supports creative voices, amplifies narratives from our region, and fosters a collective consciousness of harmony and unity.