INTRODUCTION
Melroy Dsouza
Associate Manager, Exhibition Design Projects
The Art Gallery, New York University Abu Dhabi | 2019–Present
Since joining The Art Gallery at NYU Abu Dhabi in 2019 as an Exhibition Design Technician—and later promoted to Associate Manager, Exhibition Design Projects—I have led the design and technical realization of over a dozen large-scale and project-based exhibitions in a dynamic academic museum context. My role bridges the conceptual and the material, translating curatorial vision into spatial and sensory experiences that uphold the highest museum standards.
To date, I have delivered eight major exhibitions within NYUAD’s flagship Art Gallery, a space spanning up to 15,000 square feet, and annually oversee the design and build of nine exhibitions at The Project Space (2,000 sqft), which highlights emerging local and regional artistic practices. I also coordinate three departmental capstone exhibitions each year in collaboration with the university’s Art & Art History, Interactive Media, and MFA programs.
My scope of work encompasses project management, design development, gallery build-outs, lighting and installation, as well as maintaining NYUAD’s Campus Art Collection, which includes public art installations by Alice Aycock and Tomás Saraceno. I am certified for MEWP operation (3A IPAF), ladder safety, and have extensive hands-on experience with fabrication and installation tools. I produce both digital and physical models, develop shop drawings for contractors, and coordinate the procurement of specialized AV and gallery equipment.
A crucial part of my role includes liaising with EHS for OSHA compliance, overseeing health and safety trainings, and managing essential work permits. I also lead the documentation and archiving of exhibitions through °360 photography and virtual exhibition platforms.
This portfolio reflects the collaborative, detailed, and innovative approaches I bring to exhibition design within an academic museum setting, and my ongoing commitment to creating meaningful and accessible visual environments for art and audiences alike.
INDEX
1. The Sovereign Forest by Amar Kanwar (Spring 2019)
2. Modernisms (Fall 2021)
3. Parthenogenesis (Spring 2022)
4. Khaleej Modern (Fall 2022)
5. the only constant (Spring 2023)
6. Horizon by Blane De St. Croix (Fall 2023)
7. In Real Time (Spring 2024)
8. Between the Tides—A Gulf Quinquennial (Fall 2024)
9. Museum Lighting Sample (2025 2019)
2019—Spring
The Sovereign Forest Amar Kanwar
2021—Spring not in, of, along, or relating to a line
Addie Wagenknecht, Cao Fei, Eva and Franco Mattes, Lee Blalock, Maryam Al Hamra, micha cárdenas, Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, Sophia Al-Maria, Zach Blas
2022—Spring Parthenogenesis
Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian
2021—Fall Modernisms
Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection
2022—Fall
Khaleej Modern Pioneers and Collectives in the Arabian Peninsula Curated by Dr. Aisha Stoby
2023—Spring the only constant Tarek Al-Ghoussein, Patty Chang, Gil Heitor Cortesão, Sharon Lockhart, Taus Makhacheva, Haroon Mirza, Clifford Ross, Thomas Struth, Vivek Vilasini
2024—Spring In Real Time
Nujoom Alghanem, Moza Almatrooshi, Rana Begum, Chafa Ghaddar, Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, with Julie Becton, Gillum and Kiori, Kawai | Sol LeWitt, Cristiana de Marchi, Haleh Redjaian
2023—Fall
Horizon
Blane De St. Croix
2024—Fall
Between the Tides-A Gulf Quinquennial
Alia Ahmad, Afra Al Dhaheri, Sophia Al Maria, Shaima Al Tamimi, Noor Al-Fayez, Mohammad AlFaraj, Abdulrahim Alkendi, Mohamed Almubarak, Mariam M. Alnoaimi, Christopher Joshua Benton, Sarah Brahim, Vikram Divecha, Faissal El-Malak, Hazem Harb, Aziz Motawa, Mohammad Sharaf, Bu Yousuf, and Ayman Zedani, as well as collaborations by Civil Architecture (Hamed Bukhamseen and Ali Ismail Karimi); Asaiel Al Saeed, Aseel AlYaqoub, Saphiya Abu Al-Maati, and Yousef Awaad Hussein; and Camille Zakharia and Ali Ismail Karimi.
The Sovereign Forest was my first real introduction to fine art lighting and exhibition design. I worked closely on lighting the space to support the immersive feel of the installation—balancing the quiet intensity of the film projections with carefully focused lighting on delicate works like hand-bound books and grains of rice.
Alongside the lighting, I supported the technical side of the install, from setting up multi-channel video works to building custom mounts and display units. I also helped design areas in the gallery where visitors could slow down, sit, and engage more personally with the themes of the exhibition.
This show shaped how I think about space, light, and the role of the viewer—and it was the beginning of my journey into exhibition-making.
Modernisms was the first exhibition I led from start to finish after COVID closures, and it was a major step forward in my role at the Gallery. I was responsible for the full design and project management of the show—handling everything from technical drawings and construction oversight to lighting and final delivery for the gallery opening.
One of the biggest design and logistical challenges was the construction of a -16meter self-standing wall. I coordinated with contractors and vendors, navigated the tender approval process, enforced OSHAD site safety protocols, and kept the project on track through tight timelines and shifting schedules.
Lighting was another key element—I designed and installed the full lighting scheme for the exhibition, using my IPAF 3A certification to operate a MEWP. I carried out this work under the mentorship of the Gallery’s founding director, Maya Allison, whose guidance helped shape my approach to large-scale installs.
This project gave me the confidence and experience to lead complex exhibitions, balancing creative problem-solving with on-the-ground coordination and technical execution.
Parthenogenesis
Ramin
Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian
For Parthenogenesis, I worked closely with the artists and curatorial team to bring a highly immersive and evolving installation to life. As with many of our spring exhibitions, we aimed to repurpose elements from the previous fall show—finding smart, cost-effective ways to modify existing structures while still supporting the new curatorial vision.
This show pushed me to stretch both creatively and technically. I expanded my skills in audiovisual installation, working to set up screens and video components in a way that felt clean and seamless within the environment. The exhibition featured sculptural, wall-based, and media works developed on-site, and I supported the artists throughout, adapting designs in real time to meet their vision.
I also led the lighting design and installation, carefully adjusting for the variety of materials and textures to preserve the layered, atmospheric quality of the show. To document the process, I created timelapse videos of the demo and install—capturing the transformation of the space from one exhibition to the next.
This project was a great example of creative problem-solving, handson collaboration, and growing my technical range under the unique demands of a dynamic, artist-led show.
Parthenogenesis
Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian
Khaleej Modern
Pioneers and Collectives in the Arabian Peninsula—Curated by Dr. Aisha Stoby
Khaleej Modern was a landmark exhibition tracing the roots of modern art in the Arabian Peninsula. I led the exhibition design, lighting, and technical delivery—from spatial planning and contractor coordination to installation and opening.
To create a fresh visitor experience, I rethought the gallery layout to avoid repetition from past shows. I introduced angled walls, corridors, and breakout spaces that supported the curatorial vision while encouraging more fluid movement through the exhibition.
A key highlight was producing a complex installation by Hassan Meer, which included a large tub of water, projection, audio, and retro TVs. I improved the original concept by integrating the audio directly into the water, enhancing the sensory impact. The entire work was fabricated locally under my supervision, including technical research and vendor management.
Lighting was designed to balance a range of media, from archival materials to large-scale paintings and installations, maintaining conservation standards while supporting the show’s rhythm and depth.
This exhibition pushed me to think holistically—balancing design, technical problem-solving, and visitor engagement within a culturally significant curatorial framework.
Pioneers and Collectives in the Arabian Peninsula—Curated by Dr. Aisha Stoby
2023—Spring
the only constant Tarek Al-Ghoussein, Patty Chang, Gil Heitor Cortesão, Sharon Lockhart, Taus Makhacheva, Haroon Mirza,Clifford Ross, Thomas Struth, Vivek Vilasini
This exhibition was a turning point in expanding my technical skills— particularly through my introduction to projection mapping. I worked alongside experienced specialists (some later joining TeamLabs Abu Dhabi), gaining hands-on experience in immersive tech.
As a spring show, we adapted elements from the fall build, modifying layouts and incorporating custom-fabricated pedestals and mounts for new works. I managed the projector, sound, and tech installations across the show, ensuring seamless integration.
A highlight was working on Haroon Mirza’s Dyson Sphere, which required extensive coordination with NYUAD Facilities to support its high power needs. I also led a research-based extension of the piece, sourcing local desert vegetation and stone to contextualize the work within the Gulf environment.
This project combined high-level coordination, technical problemsolving, and creative thinking—both in how we built the show and how it was experienced.
2023—Spring
Al-Ghoussein, Patty Chang, Gil Heitor Cortesão, Sharon Lockhart, Taus Makhacheva, Haroon Mirza,Clifford Ross, Thomas Struth, Vivek Vilasini
For Horizon, I collaborated closely with the artist to develop several newly commissioned works, including the Infinity Boxes. I led the design and production process—creating shop drawings in Google SketchUp, managing tendering, and supervising the fabrication and delivery of all mounts and pedestals.
One of the most hands-on elements involved sourcing recycled PET materials from a local facility to create artificial ice for one of the show’s central installations. This required a month-long design refinement process, including the fabrication of new water pools. I worked with known fabricators to bring this vision to life and implemented a natural solution using alum to keep the water clean throughout the exhibition run.
I also managed the installation of the screening room projection, supported split audio zone setups, and acted as the artist’s local liaison for procurement and on-ground needs. In parallel, I designed and commissioned a large-scale backlit signage piece to mark the gallery entrance and tie into the show’s visual identity.
This project pushed me to blend creative problem-solving with material research, technical execution, and logistical planning—bringing complex, multidisciplinary artworks to life with precision and care.
Artists: Nujoom Alghanem, Moza Almatrooshi, Rana Begum, Chafa Ghaddar, Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, with Julie Becton,Gillum and Kiori, Kawai | Sol LeWitt, Cristiana de Marchi, Haleh Redjaian
For In Real Time, I led the exhibition design and technical execution, adapting the fall layout into a refreshed configuration that aligned with the curatorial vision while maximizing efficiency. As a spring show, I focused on reusing and modifying existing build elements to minimize costs and waste without compromising on impact.
In this show, I had a few specific areas of focus. I actively participated in the recreation of Sol LeWitt’s wall drawing, engaging directly with the live art process. I also took the lead on lighting design—tailoring the approach to suit a wide variety of materials including pigment, mirror, and textiles—and handled the full range of AV and multi-channel video installs.
A key responsibility for me was documenting the live art process. I used a combination of DSLRs, action cams, and 360 cameras to capture time-lapse footage of the installation over several days, which I later compiled and edited using Photoshop to create an archive of the work in progress.
This show offered a hands-on blend of creative, technical, and archival challenges—an opportunity to push both my design instincts and documentation skills.
Artists: Alia Ahmad, Afra Al Dhaheri, Sophia Al Maria, Shaima Al Tamimi, Noor Al-Fayez, Mohammad AlFaraj, Abdulrahim Alkendi, Mohamed Almubarak, Mariam M. Alnoaimi, Christopher Joshua Benton, Sarah Brahim, Vikram Divecha, Faissal El-Malak, Hazem Harb, Aziz Motawa, Mohammad Sharaf, Bu Yousuf, and Ayman Zedani, as well as collaborations by Civil Architecture (Hamed Bukhamseen and Ali Ismail Karimi); Asaiel Al Saeed, Aseel AlYaqoub, Saphiya Abu Al-Maati, and Yousef Awaad Hussein; and Camille Zakharia and Ali Ismail Karimi.
Marking both the tenth anniversary of The NYUAD Art Gallery and my fifth year with the institution, Between the Tides was a milestone project that aligned with my promotion to Associate Manager of Exhibition Design. This ambitious exhibition brought together over 20 artists and collectives from across the Gulf region and beyond, and was featured in a wide range of local and international art news outlets.
For this show, I was responsible for leading the exhibition design from concept to delivery. I developed a new spatial layout that introduced large openings, fluid circulation, and a distinctive arcade-style architectural element—my most resolved layout to date. The design balanced the curatorial vision with a fresh visitor experience, distinct from previous exhibitions.
I oversaw the custom fabrication of all display structures, pedestals, mounts, and lighting features, while managing the detailed technical requirements needed for Civil Defence and OSHAD compliance. A major focus of this project involved upgrading the gallery’s tech infrastructure. I introduced new projection screen technology, suspended projectors, and refined the lighting and audio systems to better support complex video installations.
The project unfolded over a concentrated three-month install period, during which I worked closely with artists, contractors, and vendors to ensure timely and high-quality delivery. In addition to the core design and build, I curated a behind-the-scenes production tour to share our process with students and visitors, managed the install of all signage and print media, and continued to provide tech and maintenance support throughout the exhibition’s run.
D’SOUZA SELECTED WORKS
MELROY