Fear distorts the feeling of time. The fear of pain or death creates a need to address the finite by searching for delay, pause or transcendence into the infinite. My art practice is the medium of my temporality. My subjects are the markers of my fluctuating fears.
By sewing and stitching fabric into sculptural forms, I was searching for comfort in their softness and at times lightweightness. The fabric forms are erect but also delicate and susceptible to collapse at any moment. There is a constant need to move flaps, adjust objects, shift locations and align surrounding objects to make sense of their meaning. The medium distracts from the message, intentionally.
Dearest women is an attempt at creating a permanent memorial of a fragmented moment. It is not an attempt to critique or analyze history, but more of a totem of healing to help resolve the past in order to engage with the present, and time in general.
I look at the symbols used on the covers of books written by the religious men to address women and their bodies. I attempt to reform the symbols into new representations so that the invisible becomes visible.
School of Arts & Humanities
MA Contemporary Art Practice, 2018
Embracing diverse media, Manal AlDowayan's work encompasses black and white photography, sculpture, video, sound, neon and large-scale participatory installations. Her artistic practice revolves around themes of active forgetting, archives, and collective memory, with a large focus on the state of Saudi women and their representation.