The Dia Al-Azzawi Prize for Public Art, established in 2021, is the region’s only award dedicated to recognising transformative artworks within urban settings. This prestigious prize honours artists and architects who redefine public spaces, foster dialogue, and enrich communities through creative and contextually sensitive interventions. It plays a vital role in the cultural landscape, celebrating those who push the boundaries of public art in the Arab world and beyond.
In this series of interviews, we introduce the finalists shortlisted for the 2024 Dia Al-Azzawi Prize. These artists and designers have shown an exceptional ability to engage with urban environments, transforming them into platforms for expression, connection, and change. Their work challenges conventional perceptions, inspires public interaction, and leaves a lasting impact on the cities they touch. We invite you to explore their journeys, inspirations, and the influence of their remarkable creations.
The following interview features Manal AlDowayan, a Saudi contemporary artist whose work spans various mediums including photography, sound, sculpture, and participatory practice, interrogates traditions, collective memories, and the status and representation of women. In her artwork “Now You See Me, Now You Don’t,” Manal examines the interaction between natural landscapes and urban perceptions, inviting viewers to reflect on environmental issues through an engaging public art experience.
Tell us about starting your own studio?
I established my own studio when I moved to Dubai in the early 2010s. It was a transformative moment for me as I left my full-time job at Aramco to pursue an art career. At that time, the Dubai art scene was beginning to flourish. Since then, many things have changed in my practice and, consequently, my studio. I am now based in Dubai, Saudi Arabia, and London, have a full team, and work on various commissions and artworks around the world. It has been a journey of developing my artistic practice alongside a business model and an archive.
What do you aim to achieve during each project you work on?
It changes with every project I work on. I normally aim to integrate the medium and the concept, drawing inspiration from materiality and ideas. My work is deeply influenced by personal experiences, particularly those related to the social transformations in my country and the resilience inherited from the women who have shaped my journey.
Traditional crafts, soft sculptures, and participation have been constant themes in my practice, but I am continually inspired by new mediums and the unique challenges presented by different spaces. In larger-scale public art and installations, the space itself becomes a crucial source of inspiration. The concept and language of the artwork must respond to the environment, presenting unique challenges that push me to experiment with materials I hadn’t considered before.
What sparked your passion and interest in in Public Art?
The concepts of visibility and invisibility, particularly in relation to women’s presence in public spaces in Saudi society, are central to my practice. As the country undergoes significant transformations, the newfound openness and reclamation of public spaces by women have deeply inspired my exploration of themes like occupying space, community, and public art. My background in public art, with a master’s degree from the Royal College of Art, has further fueled my passion for these ideas. It is especially inspiring to witness the surge of public art being created in our nation in recent years.
How does the artwork “Now You See Me, Now You Don’t” juxtapose natural and urban perceptions of water formations?
The form of the artwork, shaped by the circular trampolines distributed throughout the valley, is literally inspired by the small puddles of water that naturally form in AlUla after the rain. Despite its capricious presence, there is no randomness to the formation of a puddle. Puddles are concentrations of water that are caught in nonporous environments. Reading a puddle and the circumstances of its appearance is a skill of sensitive environmental intuition, yet it is constantly overlooked. Typically, a puddle forms when water travels downward, guided by gravity to the lowest point in the land, until something, like a rock or a patch of saturated wetland, stops it. Puddles in forests or valleys tend to survive and grow, but in drier environments like the deserts of AlUla, they fade away.
In urban spaces, however, puddles have a particular reputation—they are not seen as innocent natural phenomena. In cities, puddles are often viewed as signs of design imperfections or engineering failures. They are typically eradicated and avoided in most human-inhabited spaces.
What was the conceptual inspiration behind using trampoline installations to create an interactive public art experience?
The conceptual inspiration behind using trampoline installations was creating an artwork that engages the community and visitors, making them an integral part of the experience. The piece remains dormant until it is activated by action—when someone jumps on it, the artwork comes to life.
The idea of a puddle served as a metaphor. A puddle is only briefly present, appearing almost accidentally, and never becomes a permanent fixture. An encounter with a puddle can suggest a wealth of information and provoke thoughts that might vanish just as quickly. In this installation, the puddles are not real but are represented by massive trampolines that invite interaction. They can be touched, laid upon, jumped on, and observed. In the evening, they transform into moonlit circles, activated through a series of lighting techniques as people engage with them. As these encounters become physical, the exchange of cause and effect heightens awareness of the environment, its sensitivities, and its responsiveness to human actions.
How does the artwork address the impending water crisis, and what message does it convey about climate change?
Given the projection that the country has only 13 more years of groundwater reserves left, I used trampolines to represent puddles of water—an incongruous sight in a desert, resembling an oasis.
Puddles are humble, beautiful things, and they used to live longer on Earth. AlUla was established because it had plentiful springs and was an oasis in the desert. However, as the climate has changed, local communities have increasingly depended on underground reserves, leading to puddles disappearing almost instantly, even when it rains.
Through this installation, I aim to reflect on how climate change and irresponsible irrigation practices have intensified water scarcity. By symbolising puddles with trampolines, the artwork underscores their ephemeral nature and highlights the urgency of the water crisis. It serves as a reminder of the delicate balance of our water resources and the broader consequences of environmental neglect.
Can you discuss the significance of the artwork’s location in the landscapes of Al-Ula, Saudi Arabia?
Now You See Me, Now You Don’t (2020) was a site-specific piece, and upon seeing the location early in the creation process, I realised that my artwork needed to be invisible! The stunning landscape of northern Saudi Arabia’s Al-Ula, with its majestic Nabatean tombs, was so breathtaking that my work had to step back and not compete with its beauty. As a result, my artwork intentionally had no physical presence.
How do the illuminated Moon Circles enhance the viewer’s experience and understanding of the artwork?
The landscape of AlUla is majestic both during the day and at night, and the moon’s beauty deeply inspired me. When illuminating the trampolines, I envisioned them as moon circles where people could rest or jump. They come to life through interaction, and this physical engagement allows us to reflect on the environment in which the artwork is placed.
What role does public engagement play in the overall impact and success of the artwork?
This artwork has become extremely popular, with visitors from all over the world participating and sharing it on social media, which captured a lot of international press attention. I always use these opportunities to discuss the theme with them.
As a related anecdote, I was invited a few years ago to the Taehwa River Eco Art Festival in South Korea, which focuses on the importance of water through art. I temporarily recreated the artwork there. Now that it is permanently installed, I think (and I hope) that this piece will continue to be quoted and connected with other artists and artworks that aim to engage the public on the issue of water scarcity.
What are you working on now?
This year has been exciting and demanding as I represent my country at the Venice Biennale. As I return to studio work, I am eager to paint and engage in hands-on activities while working on various other commissions, some of which are public art projects. Oasis of Stories, located in AlUla and part of Wadi AlFann, is about to enter the construction phase. This land art project focuses on community, sustainability, and landscape. It began as a big dream some years ago, and we expect to unveil it in 2026.
Meet our other finalists: Alaa Maan, Dalal Mitwally, Shouq Al-Mana, Mais Al Azab, Najla El Zein, and Dana Awartani.
Meet Our Finalists series is a compilation of interviews with those who have been shortlisted for our awards. Manal AlDowayan 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.