NASO Interviews: Mohammad AlFaraj
On his Artistic Journey from Al-Ahsa & Beyond
"At the bottom line, we all speak about the same things. About being understood, trying to be loved, trying to be at peace with the other even if we disagree with them.”
On Artistic Style:
The pieces resemble bones—ribcages, spines—structures that hint at both decay and preservation. But beyond their skeletal forms, these works are a meditation on memory, loss, and the symbolic power of boundaries.
“At its core, the work questions whether knowledge—economic, political, social—linked to borders and boundaries will survive or be forgotten,” the artist explains. “A hundred years from now, will we dig up this knowledge like a fossil? Will we only then recognize its significance, long after it has been disregarded?”
The series suggests a paradox: a future nostalgia for something that was once intrinsic but became lost. It imagines a world where vital histories have eroded, only to be rediscovered with a sense of belated urgency. The imagery of bones, often associated with both death and endurance, serves as a powerful metaphor—remnants of something that was always present but overlooked.
“It’s as if we’re looking back at something we once knew, something that was here all along, but we allowed it to disappear,” the artist reflects. “And now we’re just realizing its importance.”
On Background:
"I grew up in a family of storytellers. My grandfathers and my grandmothers like to tell stories and memorize poetry and tell it to you. And I think I've always been fascinated by that. And now I'm really happy when I'm in a position where I can use all of those teachings and folklore and that to actually say something related to today."
Storytelling has always been Mohammad's passion too. From middle school to university, filmmaking and attending film festivals were a constant pursuit. But beyond creativity, he sees art as a responsibility.
"I truly believe that we have a responsibility for the ideas we put out into the world," they explain. "Ideas are powerful-intangible yet capable of shaping reality in ways we don't immediately see."
They point to the way media influences perception, referencing how Hollywood's apocalyptic narratives often seem eerily prophetic. "It's not that they predicted these disasters—it's that they manifested them. When we constantly put out dystopian visions, we start to believe in them, and they become reality."
Despite sometimes exploring heavy themes, the artist ensures their work carries a message of hope. "Even if there's a bleak undertone, in the end, I want people to feel that things can be better.”
"Poetry is a bird trying to escape the cage of language.”
On the Film:
"It gave me a lot of confidence because it was the beginning of cinema. For me, it was a confident boost that between all of these talents, you get to do a small documentary but even if it wasn't shot very well, it's the high -end cameras. But the story itself is what really made it powerful. So, I realized the power of stories and the power of ideas more than the shape of the idea."
On Themes:
For Mohammad, the intersection of science and art is more than just an abstract concept-it's a fundamental part of their creative exploration.
Reflecting on past studies, he emphasizes how scientific principles, often perceived as rigid or clinical, can also be deeply poetic.
"Science isn't just about facts and figures—it can be incredibly poetic," they explain. "One of the courses I took really opened my eyes to this, especially when we started discussing emotional intelligence and energy."
The artist speaks about the way people, spaces, and materials carry an energy that influences human interactions and perceptions. "You know how sometimes you meet someone and instantly feel comfortable, while other times you don't? That's not just a feeling—it's scientifically proven. It's the energy they emit, the heat they carry. It's something measurable."
Beyond human interactions, this extends to places and objects. Certain environments evoke specific emotions—not just through aesthetic design but because of the energy embedded in them. "There are places you walk into, and they immediately make you feel a certain way. It's not just poetic or fantastical; it's scientifically backed by materials, geology, and the properties they hold."
This fusion of science and emotion continues to shape the artist's perspective, reinforcing the idea that art is not just about visual expression but also about the unseen forces that influence our experience of the world.
On Next Steps:
"I have a solo exhibition in Art Jameel Dubai in June this year and I'm very excited for it. It's an exhibition I've been working on. June 11th.)"
Reflecting on his artistic career, he describes moments of immense challenge and equally profound reward-most notably, a single week in which they faced two of the biggest projects of his life.
"It's a blessing and a curse," he admits, recounting an almost surreal period two years ago when they were invited to perform at the opening of the first Islamic Biennale. "It was such a huge pressure. It's the first Islamic Biennale ever, in a beautiful location, with people coming from all over the world." With just a month's notice, they were asked to create a performance to gather the audience before the official talks and opening— a daunting task by any standard.
At the same time, they had also won the prestigious Hayy Jameel façade design competition in Jeddah, an annual contest granting one artist the opportunity to design the front of the Hayy Jameel building. The unveiling of their massive
24-meter by 5-meter artwork was scheduled for the exact same week as the Biennale performance.
"I'm not kidding," they say with a laugh. "Sunday was one project, and Wednesday was the other."
Balancing these two monumental undertakings was an exercise in trust-both in themselves and in the creative process. But rather than buckle under the weight of expectation, they embraced collaboration. For the performance, they turned down offers of contemporary dancers in favor of working with 40 local and traditional performers. "They said, We'll bring you a contemporary dancer, and I said, 'No, I want to work with local and traditional dancers.”
It was a decision that not only grounded the performance in authenticity but also reaffirmed their belief in art as a communal experience. "I did both projects with people," they reflect, emphasizing the power of artistic collaboration.
Looking back, these moments of intense pressure have only strengthened their resolve. While the demands of such high-profile projects were undeniably daunting, they also proved that challenges can be catalysts for growth.
And, as they put it, "Obviously, the best is yet to come.”
"I think everything personal and can be very universal at the same time.”
Mohammad AlFaraj