The voice of transformation 

Meet Manal AlDowayan, a fearless Saudi artist who has made waves with her showcase at the Venice Biennale. Known for her bold installations and thought-provoking projects, AlDowayan tackles themes of gender, social justice, and cultural change. She shares insights into her creative process, inspirations, and the importance of representing Saudi women on a global stage.

h: Your artistic practice spans various mediums, including photography, sound, sculpture, and participatory installations. How do you approach working across these different mediums, and what influences your choice of medium for a particular project?

Manal AlDowayan: Generally speaking, the medium is always part of the concept of artwork. The answer to this question may have evolved over the years, as the relationship between medium and concept has likely changed with each project. I naturally link a concept with its materiality, exploring both to further develop the artwork I make. However, some conceptually formed ideas and shapes have remained constant throughout my career, such as the incorporation of traditional crafts, the conceptualisation of soft sculptures, and the idea of participation, among others. In my studio, when I start exploring a new medium, it immediately becomes a source of inspiration.

Lately, I have been working on a larger scale, creating public art and on-site installations where the main source of inspiration is the space that will host the artwork. The language and concept should respond to that space, presenting challenges that are very inspiring and encouraging me to explore materials I hadn’t imagined using before.

h: Many of your artworks explore themes of gender bias, social injustice, and cultural transformation in Saudi Arabia. What drives your interest in these topics, and how do you navigate the personal and political aspects of your work?

MAD: My interest in these themes stems from my lived experiences and the stories of the women around me. The social shifts that have impacted us, the spaces we have defined, and the narratives we carry within us. I have made several artworks that leaned on public participation, understanding that I needed my narrative to intertwine with that of my community. This approach ensures that my art is both a reflection of my own perspective and a soundscape of many voices.

h: Your artwork often incorporates elements of traditional Saudi culture and landscape, such as the desert and desert rose. How do these cultural references inform your artistic practice, and what significance do they hold in your work?

MAD: The place an artist exists usually impacts the artworks they make. I have lived and moved around the world, and you can see these references in my artworks. Whether I am in my home, moving to a city, or going for a residency, either the materials or the location will show up in future works.

h: Could you describe the inspiration behind Shifting Sands: A Battle Song and how it reflects the evolving role of women in Saudi Arabia’s public sphere?

MAD: Shifting Sands: A Battle Song tries to portray a moment of transformation in my country, specifically transformation that has impacted women and girls. The artwork uses three layers of materials to bring across the full concept. First, there is the sonic element, where 1,000 women hummed and harmonised to the sound of shifting sands. Then there were the participatory sessions where hundreds of women drew and wrote their thoughts and emotions. Finally, the artwork came together as a soft sculpture made of silk that filled the exhibition hall.

h: The title of your installation suggests a sense of empowerment and resilience. How do you hope visitors will interpret and engage with the themes of empowerment and solidarity within your work?

MAD: I hope visitors will feel the collective strength embodied in Shifting Sands: A Battle Song. The title evokes a powerful image of women coming together in a unified voice, much like a cry for unity. As visitors move through the installation, I want them to sense the resilience and empowerment of Saudi women, experiencing the installation as a space of solidarity and support. The immersive soundscape and the soft sculptures, silkscreened with the workshops’ drawings and texts, are designed to provoke reflection on the journey of these women. But mainly, I hope this artwork motivates women to support each other in finding their voices and securing their roles in this evolving chapter of history.

h: Sound plays a significant role in Shifting Sands: A Battle Song. Could you elaborate on the significance of incorporating sound as a medium in your artwork and how it enhances the overall experience for the audience?

MAD: Sound is an invisible yet powerful medium that creates a profound sensory experience. In Shifting Sands: A Battle Song, the sound of the singing dunes, intertwined with the voices of women, forms a very particular sonic landscape that envelops the audience. It is inspired by what is popularly called “the singing dunes”, a very strange natural phenomenon that happens in only a few deserts in the world, and it’s especially strong in the Southern desert of the Empty Quarter in Saudi Arabia. There the dunes are so huge, and the summer is so dry, with any small shift or movement the sand granules create a low humming sound as they move. I heard it for the first time when I was an employee of Saudi Aramco and later returned with my team to record it. This recording was later used in the participatory sessions to encourage the participants to harmonise with the sounds of nature, and the results were so beautiful that the sonic part of my presentation became the most important element in the artwork. The soundscape captured the essence of the land I came from and the community that fostered my growth.

h: The use of soft sculpture, specifically Tussar silk, is notable in your installation. What led you to choose this material, and how does it contribute to the conceptual and aesthetic aspects of your work?

MAD: While my encounter with this type of silk was quite anecdotal, what charmed me was the roughness of it and the nature of its beauty. I think it is perfect for my soft sculptures; they look tough but feel soft. Sometime later, I found a community in northern India that produces it in a way they call “the peace way”, as they do not kill the worm during the process, and it made me fall in love completely.

h: As one of Saudi Arabia’s most significant contemporary artists, what does it mean to you to represent your country at the Venice Biennale, especially within the context of Saudi Arabia’s evolving cultural landscape?

MAD: Representing Saudi Arabia at the Venice Biennale is an honour but also comes with a huge responsibility. This moment is particularly meaningful as it reflects the ongoing transformation not only within Saudi Arabia but also all over the world, with the Global South artistic scene taking the lead in art world narratives. It’s a valuable opportunity to contribute to the broader conversation about our identity and place in the world.

h: How do you perceive the role of art in fostering dialogue and understanding between different cultures and societies, particularly in the context of a global platform like the Venice Biennale?

MAD: I think that the Venice Biennale still holds a significant position in the art world. It remains one of the most vital platforms for artistic dialogue, idea exchange, and critical reflection, addressing not only art but also pressing social, political, and environmental issues. Nationhood and its complexities are a constant topic of discussion at the Venice Biennale. It’s fascinating to see the narratives that governments choose to present through the language of art. I also deeply admire the artists who, despite these circumstances, manage to create powerful and emotional artworks.