Dana Awartani is a Saudi-Palestinian artist renowned for bridging contemporary and Islamic Arab art. Her artwork ‘Where The Dwellers Lay,’ showcased at Desert X Al Ula, exemplifies her dedication to cultural heritage, exploring themes of identity, history, and craftsmanship. Here, Dana discusses her artistic journey, her commitment to celebrating cultural heritage through art, and her upcoming projects.
Tell us about starting your studio
From an early age, my family instilled a deep appreciation for the arts in me. Their support encouraged me to study at Central Saint Martins and The Prince’s School of Traditional Arts in London. Throughout my journey, I rediscovered my heritage and fell in love with the region’s craft traditions. My practice evolved through intensive education and training, weaving traditional and contemporary elements to reintroduce these crafts on a contemporary platform
What sparked your passion and interest in Public Art?
Participating in Desert X at Al Ula was my first experience with public artwork. It was both challenging and exhilarating. Creating a piece in such a historic location required me to consider the environment and how the work would interact with it. Engaging a diverse audience, some of whom might not have been interested in art before, added another layer of complexity.
What do you aim to achieve during each project you work on?
When exhibiting outside the Middle East, I aim to present a different perspective on Middle Eastern culture. Through my work, I hope to counteract stereotypes and highlight important issues in the region, sparking curiosity in the audience.
How does “Where The Dwellers Lay” draw inspiration from the vernacular architecture of AlUla, particularly the archaeological site of Hegra?
The cave-like structure of the work draws inspiration from Nabatean tombs and their facades. The three-dimensional geometry of the piece interprets the decorative zig-zag markings found on the tombs, which are thought to symbolize a stairway to heaven for those resting within them. By combining these markings with Islamic geometric patterns, the artwork brings together the diverse cultures that have contributed to Saudi Arabia’s rich heritage.
What is the significance of the concave geometric form in the sculpture, and how does it reference Nabataean tombs?
The title, Where the Dwellers Lay, can be interpreted in two ways: as a reference to the tombs, a place to lay and rest, and the other as a broader reference to Al Ula’s significance as a resting point for travelers along historic trade routes. I wanted to respond to the landscape of Al Ula materially by using the stones found locally in Al Ula that are used in the vernacular architecture of the region. The stones have natural cooling properties, providing some respite from the desert heat. Additionally, I incorporated the zig-zag patterning found on the tombs into the sculpture, creating a visual connection to the geometry of these ancient structures.
Can you discuss the cultural and historical significance of the diverse civilizations represented in the artwork?
I wanted the work to represent a coming together of the Nabatean and Islamic civilizations that shaped Al Ula. I’ve been studying Islamic geometry and non-figurative art for many years and found that it blends well with the Nabatean elements and craft traditions that were present in the structure of the tombs and their architecture. The artwork merges both styles and compounds the cultural influences of Al Ula across history.
How does the sculpture engage with its surroundings and the public in Al-Ula?
My intention for the piece was for it to appear as though it belonged to the landscape. I wanted to imbue a sense of familiarity in the local audience that viewed it. The stone and patterning used in the sculpture reflect the region’s heritage and geography, incorporating elements that people have been familiar with for generations. I also designed the artwork to be physically engaging, allowing people to touch and sit on it, further integrating it into their experience with the work.
What challenges were faced in the creation and installation of the sculpture, and how were they addressed?
Engineering the artwork to allow people to sit inside while maintaining its design integrity was a complex challenge. The base was too narrow to support significant weight, so we devised an invisible concrete structure hidden beneath the sand to maintain its stability and to prevent it from sinking. This solution required extensive revisions and adjustments. The back of the piece also required extra stones for structural support, which were added carefully without altering the overall pattern.
How does the artwork contribute to the preservation and celebration of Saudi Arabia’s architectural and cultural heritage?
The work celebrates the region’s history by modernizing the architectural traditions of a civilization that is a significant part of Saudi Arabia’s heritage. Rather than merely preserving or historicizing this heritage, the piece continues and revitalizes its legacy in a contemporary context.
What happens to artworks after the conclusion of desert X?
The artwork has been selected by the Desert X at Al Ula committee to be a permanent installation. As time progresses, it will evolve with the environment, with the color of the locally-sourced stone gradually changing and fading, much like the surrounding mountains. The intention behind using this material was to complement and blend seamlessly with the physical geography of the space, allowing the piece to integrate naturally into the landscape.
Majority of submissions received this year for the Dia al-Azzawi Prize for Public Art were from women. What are your thoughts on this?
As an artist, I am fortunate to be surrounded by talented women in the arts who are committed to their practices and work diligently for their achievements. I am always thrilled to see them recognized for their efforts. It is important to provide them with platforms for their voices to be heard, and I am encouraged by the positive changes taking place across the region to support this.
What are you working on now?
“Since Desert X Al Ula, I have been working on new public artworks. I am shortlisted for the High Line Plinth Commission in New York City and will present a new work at the Northern Alps Festival in Japan this September. My work is also on display at the Venice Biennale, with upcoming exhibitions in Europe and a solo show at Lisson Gallery in London next year.”
Meet our other finalists: Alaa Maan, Mais Al Azab, Dalal Mitwally, Shouq Al-Mana, Manal AlDowayan, and Najla El Zein.
Meet Our Finalists series is a compilation of interviews with those who have been shortlisted for our awards. Dana Awartani is a finalist for the Dia Al Azzawi Prize for Public Art, which awards artworks within the urban context that have had a transformative impact on their communities in the Arab World.