Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country. After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land. 

During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy.  With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.

Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one.  Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.

In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.

Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.

Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country.

After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.

During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy.  With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.

 Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one.  Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.

Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country. After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land. 

During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy.  With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.

Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one.  Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.

In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.

Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.

Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country. After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land. 

During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy.  With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.

Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one.  Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.

In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.

Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.

The lifeline of history is like the lifeline of a river – there is one central artery and thousands of other tributaries, some as thin as hair, branching every which way. The stories of history, like the stories borne by rivers, run as much in the central gushing aorta as in the branching veins, but the official records of history, the narratives that are passed on to posterity, often record only the primary narrative and gloss over the others. Sometimes, the artist has to step in as an alternative historian, and fill up these cracks in truth, cementing the fissures with missing links and pieces, and taking on roles as varied as scribe, chronicler, documentarian or the collective conscience of a people in a certain time and place.

At this point in time, Saudi Arabia is a node of such rapid change that it often baffles comprehension. A taste for secrecy and for avoiding its own truths often frustrates even the best-hearted attempts at documentation. Any man who leaps into the fray to challenge or truthfully complement the overlooked pockets of truth must be credited with courage. In ‘Artificial light’, the artist documents what he calls ‘an unofficial history of the urbanization of Makkah’. While Makkah’s shape, its scope and future change beyond recognition in a central sphere of development where the old and new symbol (the Kaa’ba and the Makkah Clock Tower’) confront each other directly, the shockwaves from this heated centre of conflict spread well into the fringes, into the houses, hearts and minds of the millions that absorb and live this irreversible change from the inside out. The transformation of Makkah is mapped upon their hearts and minds, their daily thoughts, in the way they have thought and will continue to think about their lives, in the way they evaluate and assess their past and in the way they project and plan their future. Their destinies and those of the city are inseparable. In this project, among other things, the artist takes it upon himself to collect these tertiary narratives in the form of audio and video documentaries. For the half-blind of the world, who will not seek beyond the truth of a google search, the narrative of the urbanization of Makkah is a narrative of concrete, but for the spiritually awake and the morally courageous, any narrative of change and transformation is read through stories of humans, not through the weight of concrete and the height of towers. It always has and perhaps, always will be, the moral responsibility of the artist to resurrect the human underbelly of this narrative of concrete and keep it from being buried under the rubble and forgotten from memory.

In the mind of the world, Makkah is a symbol more than a city, and like all symbols, an image of Makkah is not just an image. It is an image which is always read and interpreted by believers and non-believers alike. Layers of meaning, homage, veneration, significance, and history have been kneaded, over timeless decades, into what is a continuous visual narrative – the real or imagined story behind the image, the surcharge of symbolism it has accumulated over the years, and the feelings it evokes in the beholder. Makkah has never been seen neutrally, it has always bathed in its own sacred halo. It has always been seen from a standpoint of emotional and religious fervor, and the visual narrative available to us uptil now has always confirmed the vantage-point of Kaaba in this tale. Kaaba has dominated the visual narrative of Makkah (indeed, the two are almost synonymous to many) - humbly, but regally owning its position as a source, as a self-assured but unassuming quiet black monarch.

The sequence of stills in ‘Artificial Light’ is the latest addition to this narrative. Instead of taking it forward along the older axis of Kaaba’s sanctity and predominance as a sacred symbol, it completely inverts the narrative - a more glamorous, gaudily clad monarch now holds court in the central arena. The trivialization of the Kaaba is, before anything, a physical jolt, an uprooting of a familiar point of focus for the vision. The actors in this new chapter are automatons, electronic limbs of giant-sized machines, superimposing construction grids, and contractual labourers, and the sovereign is, the pictures seem to suggest, the new high rise, doubtless an ode to man’s will to compete and command. As our familiar associations with the Kaaba are shattered, we become alienated from the meaning of Kaaba. We see a Kaaba looking almost done in by the menacing limbs of construction machines, no longer secure about being the natural or only focus. Other pictures are taken from sly perspectives that posit the Kaaba within more consumerist and materialist contexts, forcing us to rethink and re-evaluate its meaning, replacing the comfortable full-stops in our mind with question marks.

The truth is that for Saudi Arabia and Saudis, Makkah is not an extraneous symbol separate from themselves, it is a part of their national and individual ethos. It is the existential denominator of their being and existence. How will the revamped Makkah affect their sense of self and worth? Will it make them disoriented? How culturally appropriate is the glamorous new tower? For the Saudis, is it a broche or an eyesore? To what extent can they identify with it? Does it repel them or are they indifferent to it?

The questions are endless. They all must be answered, but first, they must be faced. In times of change like the ones we live in, art ceases to mean beauty, it means tact, nerve, and the courage to grapple with  winds of change. The artist, in these times, is a shower of mirrors. Sometimes, art could simply mean arranging mirrors in such a manner that different views of the same reality face us wherever we turn, and the full picture of truth is sealed from different angles, so that we are trapped with the most burning questions of our beings and surroundings with no way to escape. The changing face of our present is a burning question, for our future depends on it.

-          Naima Rashid

The lifeline of history is like the lifeline of a river – there is one central artery and thousands of other tributaries, some as thin as hair, branching every which way. The stories of history, like the stories borne by rivers, run as much in the central gushing aorta as in the branching veins, but the official records of history, the narratives that are passed on to posterity, often record only the primary narrative and gloss over the others. Sometimes, the artist has to step in as an alternative historian, and fill up these cracks in truth, cementing the fissures with missing links and pieces, and taking on roles as varied as scribe, chronicler, documentarian or the collective conscience of a people in a certain time and place.

At this point in time, Saudi Arabia is a node of such rapid change that it often baffles comprehension. A taste for secrecy and for avoiding its own truths often frustrates even the best-hearted attempts at documentation. Any man who leaps into the fray to challenge or truthfully complement the overlooked pockets of truth must be credited with courage. In ‘Artificial light’, the artist documents what he calls ‘an unofficial history of the urbanization of Makkah’. While Makkah’s shape, its scope and future change beyond recognition in a central sphere of development where the old and new symbol (the Kaa’ba and the Makkah Clock Tower’) confront each other directly, the shockwaves from this heated centre of conflict spread well into the fringes, into the houses, hearts and minds of the millions that absorb and live this irreversible change from the inside out. The transformation of Makkah is mapped upon their hearts and minds, their daily thoughts, in the way they have thought and will continue to think about their lives, in the way they evaluate and assess their past and in the way they project and plan their future. Their destinies and those of the city are inseparable. In this project, among other things, the artist takes it upon himself to collect these tertiary narratives in the form of audio and video documentaries. For the half-blind of the world, who will not seek beyond the truth of a google search, the narrative of the urbanization of Makkah is a narrative of concrete, but for the spiritually awake and the morally courageous, any narrative of change and transformation is read through stories of humans, not through the weight of concrete and the height of towers. It always has and perhaps, always will be, the moral responsibility of the artist to resurrect the human underbelly of this narrative of concrete and keep it from being buried under the rubble and forgotten from memory.

In the mind of the world, Makkah is a symbol more than a city, and like all symbols, an image of Makkah is not just an image. It is an image which is always read and interpreted by believers and non-believers alike. Layers of meaning, homage, veneration, significance, and history have been kneaded, over timeless decades, into what is a continuous visual narrative – the real or imagined story behind the image, the surcharge of symbolism it has accumulated over the years, and the feelings it evokes in the beholder. Makkah has never been seen neutrally, it has always bathed in its own sacred halo. It has always been seen from a standpoint of emotional and religious fervor, and the visual narrative available to us uptil now has always confirmed the vantage-point of Kaaba in this tale. Kaaba has dominated the visual narrative of Makkah (indeed, the two are almost synonymous to many) - humbly, but regally owning its position as a source, as a self-assured but unassuming quiet black monarch.

The sequence of stills in ‘Artificial Light’ is the latest addition to this narrative. Instead of taking it forward along the older axis of Kaaba’s sanctity and predominance as a sacred symbol, it completely inverts the narrative - a more glamorous, gaudily clad monarch now holds court in the central arena. The trivialization of the Kaaba is, before anything, a physical jolt, an uprooting of a familiar point of focus for the vision. The actors in this new chapter are automatons, electronic limbs of giant-sized machines, superimposing construction grids, and contractual labourers, and the sovereign is, the pictures seem to suggest, the new high rise, doubtless an ode to man’s will to compete and command. As our familiar associations with the Kaaba are shattered, we become alienated from the meaning of Kaaba. We see a Kaaba looking almost done in by the menacing limbs of construction machines, no longer secure about being the natural or only focus. Other pictures are taken from sly perspectives that posit the Kaaba within more consumerist and materialist contexts, forcing us to rethink and re-evaluate its meaning, replacing the comfortable full-stops in our mind with question marks.

The truth is that for Saudi Arabia and Saudis, Makkah is not an extraneous symbol separate from themselves, it is a part of their national and individual ethos. It is the existential denominator of their being and existence. How will the revamped Makkah affect their sense of self and worth? Will it make them disoriented? How culturally appropriate is the glamorous new tower? For the Saudis, is it a broche or an eyesore? To what extent can they identify with it? Does it repel them or are they indifferent to it?

The questions are endless. They all must be answered, but first, they must be faced. In times of change like the ones we live in, art ceases to mean beauty, it means tact, nerve, and the courage to grapple with  winds of change. The artist, in these times, is a shower of mirrors. Sometimes, art could simply mean arranging mirrors in such a manner that different views of the same reality face us wherever we turn, and the full picture of truth is sealed from different angles, so that we are trapped with the most burning questions of our beings and surroundings with no way to escape. The changing face of our present is a burning question, for our future depends on it.

-Naima Rashid

The lifeline of history is like the lifeline of a river – there is one central artery and thousands of other tributaries, some as thin as hair, branching every which way. The stories of history, like the stories borne by rivers, run as much in the central gushing aorta as in the branching veins, but the official records of history, the narratives that are passed on to posterity, often record only the primary narrative and gloss over the others. Sometimes, the artist has to step in as an alternative historian, and fill up these cracks in truth, cementing the fissures with missing links and pieces, and taking on roles as varied as scribe, chronicler, documentarian or the collective conscience of a people in a certain time and place.

At this point in time, Saudi Arabia is a node of such rapid change that it often baffles comprehension. A taste for secrecy and for avoiding its own truths often frustrates even the best-hearted attempts at documentation. Any man who leaps into the fray to challenge or truthfully complement the overlooked pockets of truth must be credited with courage. In ‘Artificial light’, the artist documents what he calls ‘an unofficial history of the urbanization of Makkah’. While Makkah’s shape, its scope and future change beyond recognition in a central sphere of development where the old and new symbol (the Kaa’ba and the Makkah Clock Tower’) confront each other directly, the shockwaves from this heated centre of conflict spread well into the fringes, into the houses, hearts and minds of the millions that absorb and live this irreversible change from the inside out. The transformation of Makkah is mapped upon their hearts and minds, their daily thoughts, in the way they have thought and will continue to think about their lives, in the way they evaluate and assess their past and in the way they project and plan their future. Their destinies and those of the city are inseparable. In this project, among other things, the artist takes it upon himself to collect these tertiary narratives in the form of audio and video documentaries. For the half-blind of the world, who will not seek beyond the truth of a google search, the narrative of the urbanization of Makkah is a narrative of concrete, but for the spiritually awake and the morally courageous, any narrative of change and transformation is read through stories of humans, not through the weight of concrete and the height of towers. It always has and perhaps, always will be, the moral responsibility of the artist to resurrect the human underbelly of this narrative of concrete and keep it from being buried under the rubble and forgotten from memory.

In the mind of the world, Makkah is a symbol more than a city, and like all symbols, an image of Makkah is not just an image. It is an image which is always read and interpreted by believers and non-believers alike. Layers of meaning, homage, veneration, significance, and history have been kneaded, over timeless decades, into what is a continuous visual narrative – the real or imagined story behind the image, the surcharge of symbolism it has accumulated over the years, and the feelings it evokes in the beholder. Makkah has never been seen neutrally, it has always bathed in its own sacred halo. It has always been seen from a standpoint of emotional and religious fervor, and the visual narrative available to us uptil now has always confirmed the vantage-point of Kaaba in this tale. Kaaba has dominated the visual narrative of Makkah (indeed, the two are almost synonymous to many) - humbly, but regally owning its position as a source, as a self-assured but unassuming quiet black monarch.

The sequence of stills in ‘Artificial Light’ is the latest addition to this narrative. Instead of taking it forward along the older axis of Kaaba’s sanctity and predominance as a sacred symbol, it completely inverts the narrative - a more glamorous, gaudily clad monarch now holds court in the central arena. The trivialization of the Kaaba is, before anything, a physical jolt, an uprooting of a familiar point of focus for the vision. The actors in this new chapter are automatons, electronic limbs of giant-sized machines, superimposing construction grids, and contractual labourers, and the sovereign is, the pictures seem to suggest, the new high rise, doubtless an ode to man’s will to compete and command. As our familiar associations with the Kaaba are shattered, we become alienated from the meaning of Kaaba. We see a Kaaba looking almost done in by the menacing limbs of construction machines, no longer secure about being the natural or only focus. Other pictures are taken from sly perspectives that posit the Kaaba within more consumerist and materialist contexts, forcing us to rethink and re-evaluate its meaning, replacing the comfortable full-stops in our mind with question marks.

The truth is that for Saudi Arabia and Saudis, Makkah is not an extraneous symbol separate from themselves, it is a part of their national and individual ethos. It is the existential denominator of their being and existence. How will the revamped Makkah affect their sense of self and worth? Will it make them disoriented? How culturally appropriate is the glamorous new tower? For the Saudis, is it a broche or an eyesore? To what extent can they identify with it? Does it repel them or are they indifferent to it?

The questions are endless. They all must be answered, but first, they must be faced. In times of change like the ones we live in, art ceases to mean beauty, it means tact, nerve, and the courage to grapple with  winds of change. The artist, in these times, is a shower of mirrors. Sometimes, art could simply mean arranging mirrors in such a manner that different views of the same reality face us wherever we turn, and the full picture of truth is sealed from different angles, so that we are trapped with the most burning questions of our beings and surroundings with no way to escape. The changing face of our present is a burning question, for our future depends on it.

-Naima Rashid

The lifeline of history is like the lifeline of a river – there is one central artery and thousands of other tributaries, some as thin as hair, branching every which way. The stories of history, like the stories borne by rivers, run as much in the central gushing aorta as in the branching veins, but the official records of history, the narratives that are passed on to posterity, often record only the primary narrative and gloss over the others. Sometimes, the artist has to step in as an alternative historian, and fill up these cracks in truth, cementing the fissures with missing links and pieces, and taking on roles as varied as scribe, chronicler, documentarian or the collective conscience of a people in a certain time and place.

At this point in time, Saudi Arabia is a node of such rapid change that it often baffles comprehension. A taste for secrecy and for avoiding its own truths often frustrates even the best-hearted attempts at documentation. Any man who leaps into the fray to challenge or truthfully complement the overlooked pockets of truth must be credited with courage. In ‘Artificial light’, the artist documents what he calls ‘an unofficial history of the urbanization of Makkah’. While Makkah’s shape, its scope and future change beyond recognition in a central sphere of development where the old and new symbol (the Kaa’ba and the Makkah Clock Tower’) confront each other directly, the shockwaves from this heated centre of conflict spread well into the fringes, into the houses, hearts and minds of the millions that absorb and live this irreversible change from the inside out. The transformation of Makkah is mapped upon their hearts and minds, their daily thoughts, in the way they have thought and will continue to think about their lives, in the way they evaluate and assess their past and in the way they project and plan their future. Their destinies and those of the city are inseparable. In this project, among other things, the artist takes it upon himself to collect these tertiary narratives in the form of audio and video documentaries. For the half-blind of the world, who will not seek beyond the truth of a google search, the narrative of the urbanization of Makkah is a narrative of concrete, but for the spiritually awake and the morally courageous, any narrative of change and transformation is read through stories of humans, not through the weight of concrete and the height of towers. It always has and perhaps, always will be, the moral responsibility of the artist to resurrect the human underbelly of this narrative of concrete and keep it from being buried under the rubble and forgotten from memory.

In the mind of the world, Makkah is a symbol more than a city, and like all symbols, an image of Makkah is not just an image. It is an image which is always read and interpreted by believers and non-believers alike. Layers of meaning, homage, veneration, significance, and history have been kneaded, over timeless decades, into what is a continuous visual narrative – the real or imagined story behind the image, the surcharge of symbolism it has accumulated over the years, and the feelings it evokes in the beholder. Makkah has never been seen neutrally, it has always bathed in its own sacred halo. It has always been seen from a standpoint of emotional and religious fervor, and the visual narrative available to us uptil now has always confirmed the vantage-point of Kaaba in this tale. Kaaba has dominated the visual narrative of Makkah (indeed, the two are almost synonymous to many) - humbly, but regally owning its position as a source, as a self-assured but unassuming quiet black monarch.

The sequence of stills in ‘Artificial Light’ is the latest addition to this narrative. Instead of taking it forward along the older axis of Kaaba’s sanctity and predominance as a sacred symbol, it completely inverts the narrative - a more glamorous, gaudily clad monarch now holds court in the central arena. The trivialization of the Kaaba is, before anything, a physical jolt, an uprooting of a familiar point of focus for the vision. The actors in this new chapter are automatons, electronic limbs of giant-sized machines, superimposing construction grids, and contractual labourers, and the sovereign is, the pictures seem to suggest, the new high rise, doubtless an ode to man’s will to compete and command. As our familiar associations with the Kaaba are shattered, we become alienated from the meaning of Kaaba. We see a Kaaba looking almost done in by the menacing limbs of construction machines, no longer secure about being the natural or only focus. Other pictures are taken from sly perspectives that posit the Kaaba within more consumerist and materialist contexts, forcing us to rethink and re-evaluate its meaning, replacing the comfortable full-stops in our mind with question marks.

The truth is that for Saudi Arabia and Saudis, Makkah is not an extraneous symbol separate from themselves, it is a part of their national and individual ethos. It is the existential denominator of their being and existence. How will the revamped Makkah affect their sense of self and worth? Will it make them disoriented? How culturally appropriate is the glamorous new tower? For the Saudis, is it a broche or an eyesore? To what extent can they identify with it? Does it repel them or are they indifferent to it?

The questions are endless. They all must be answered, but first, they must be faced. In times of change like the ones we live in, art ceases to mean beauty, it means tact, nerve, and the courage to grapple with  winds of change. The artist, in these times, is a shower of mirrors. Sometimes, art could simply mean arranging mirrors in such a manner that different views of the same reality face us wherever we turn, and the full picture of truth is sealed from different angles, so that we are trapped with the most burning questions of our beings and surroundings with no way to escape. The changing face of our present is a burning question, for our future depends on it.

-Naima Rashid

The lifeline of history is like the lifeline of a river – there is one central artery and thousands of other tributaries, some as thin as hair, branching every which way. The stories of history, like the stories borne by rivers, run as much in the central gushing aorta as in the branching veins, but the official records of history, the narratives that are passed on to posterity, often record only the primary narrative and gloss over the others. Sometimes, the artist has to step in as an alternative historian, and fill up these cracks in truth, cementing the fissures with missing links and pieces, and taking on roles as varied as scribe, chronicler, documentarian or the collective conscience of a people in a certain time and place.

At this point in time, Saudi Arabia is a node of such rapid change that it often baffles comprehension. A taste for secrecy and for avoiding its own truths often frustrates even the best-hearted attempts at documentation. Any man who leaps into the fray to challenge or truthfully complement the overlooked pockets of truth must be credited with courage. In ‘Artificial light’, the artist documents what he calls ‘an unofficial history of the urbanization of Makkah’. While Makkah’s shape, its scope and future change beyond recognition in a central sphere of development where the old and new symbol (the Kaa’ba and the Makkah Clock Tower’) confront each other directly, the shockwaves from this heated centre of conflict spread well into the fringes, into the houses, hearts and minds of the millions that absorb and live this irreversible change from the inside out. The transformation of Makkah is mapped upon their hearts and minds, their daily thoughts, in the way they have thought and will continue to think about their lives, in the way they evaluate and assess their past and in the way they project and plan their future. Their destinies and those of the city are inseparable. In this project, among other things, the artist takes it upon himself to collect these tertiary narratives in the form of audio and video documentaries. For the half-blind of the world, who will not seek beyond the truth of a google search, the narrative of the urbanization of Makkah is a narrative of concrete, but for the spiritually awake and the morally courageous, any narrative of change and transformation is read through stories of humans, not through the weight of concrete and the height of towers. It always has and perhaps, always will be, the moral responsibility of the artist to resurrect the human underbelly of this narrative of concrete and keep it from being buried under the rubble and forgotten from memory.

In the mind of the world, Makkah is a symbol more than a city, and like all symbols, an image of Makkah is not just an image. It is an image which is always read and interpreted by believers and non-believers alike. Layers of meaning, homage, veneration, significance, and history have been kneaded, over timeless decades, into what is a continuous visual narrative – the real or imagined story behind the image, the surcharge of symbolism it has accumulated over the years, and the feelings it evokes in the beholder. Makkah has never been seen neutrally, it has always bathed in its own sacred halo. It has always been seen from a standpoint of emotional and religious fervor, and the visual narrative available to us uptil now has always confirmed the vantage-point of Kaaba in this tale. Kaaba has dominated the visual narrative of Makkah (indeed, the two are almost synonymous to many) - humbly, but regally owning its position as a source, as a self-assured but unassuming quiet black monarch.

The sequence of stills in ‘Artificial Light’ is the latest addition to this narrative. Instead of taking it forward along the older axis of Kaaba’s sanctity and predominance as a sacred symbol, it completely inverts the narrative - a more glamorous, gaudily clad monarch now holds court in the central arena. The trivialization of the Kaaba is, before anything, a physical jolt, an uprooting of a familiar point of focus for the vision. The actors in this new chapter are automatons, electronic limbs of giant-sized machines, superimposing construction grids, and contractual labourers, and the sovereign is, the pictures seem to suggest, the new high rise, doubtless an ode to man’s will to compete and command. As our familiar associations with the Kaaba are shattered, we become alienated from the meaning of Kaaba. We see a Kaaba looking almost done in by the menacing limbs of construction machines, no longer secure about being the natural or only focus. Other pictures are taken from sly perspectives that posit the Kaaba within more consumerist and materialist contexts, forcing us to rethink and re-evaluate its meaning, replacing the comfortable full-stops in our mind with question marks.

The truth is that for Saudi Arabia and Saudis, Makkah is not an extraneous symbol separate from themselves, it is a part of their national and individual ethos. It is the existential denominator of their being and existence. How will the revamped Makkah affect their sense of self and worth? Will it make them disoriented? How culturally appropriate is the glamorous new tower? For the Saudis, is it a broche or an eyesore? To what extent can they identify with it? Does it repel them or are they indifferent to it?

The questions are endless. They all must be answered, but first, they must be faced. In times of change like the ones we live in, art ceases to mean beauty, it means tact, nerve, and the courage to grapple with  winds of change. The artist, in these times, is a shower of mirrors. Sometimes, art could simply mean arranging mirrors in such a manner that different views of the same reality face us wherever we turn, and the full picture of truth is sealed from different angles, so that we are trapped with the most burning questions of our beings and surroundings with no way to escape. The changing face of our present is a burning question, for our future depends on it.

-Naima Rashid

The inspiration for this series of portraits is the traditional Mashrabiya. A tooled wooden screen traditionally used to separate the private and public spaces in Islamic Architecture. The labor intensive process involves etching the surface of large format negatives by hand thereby applying/removing said “screen” directly to the portrait, calling into question both the idea of portraiture and photographic space. The works are an exploration of many things. They revel in the ‘in between’; photography and drawing, public and private space, representation and abstraction, obscuring and revealing. Weather they transcend or trespass, these are about the lines we draw, and the spaces in between.

The inspiration for this series of portraits is the traditional Mashrabiya. A tooled wooden screen traditionally used to separate the private and public spaces in Islamic Architecture. The labor intensive process involves etching the surface of large format negatives by hand thereby applying/removing said “screen” directly to the portrait, calling into question both the idea of portraiture and photographic space. The works are an exploration of many things. They revel in the ‘in between’; photography and drawing, public and private space, representation and abstraction, obscuring and revealing. Weather they transcend or trespass, these are about the lines we draw, and the spaces in between.