Riyadh is a city in Saudi Arabia deciding on its identity, the buzzword on everyone’s lips is ‘Vision 2030’, which carries with it the aspirations of legions of creative minds, that are brought in from abroad, Italy and Spain among them, to deliver culture to a country seeking greater involvement with the rest of the world. Sculpture is playing its part by drawing individuals from all over the world to this desert location. With a younger king at the helm of a country looking to mirror its neighbours’ more liberal interests, Saudi Arabia sees art as essential to their being an integral part of the region’s cultural and commercial rise. Riyadh Art epitomises their ambition to transform into a more ‘cosmopolitan city’, as is rubber-stamped in its accompanying literature. With a long way to go to match the UAE’s influx of foreigners, Saudi Arabia appears set on seeing itself as a destination city. Politics aside, art, as much as music, has a remarkable ability to attract people to a place, and if the art lacks on this occasion, then the event’s merit is its ability to have countries and cultures within touching distance of one another. Sharing the same tools, the same materials, and the same amount of time, to create works from marble.

With post-modernism firmly fashioning everything of our lives, the idea to offer artists identical materials harks back to the turn of the century, and even further to the old masters, all having laboured over the ideal form. Tuwaiq Sculpture, a competition of some twenty young sculptors is intended to capture something of the energies of artists whose countries of birth offer us very different perspectives on the significance and symbolism of sculpture in a public setting. And as much as Riyadh is yet to fully appreciate how to live with and where to locate its art, this annual sculptural symposium appears still to decide on a school of thought that best explains sculpture as a language that has its worth, as a country’s second currency. This year’s entries included a choice of home-grown artists, as well as those spread across Europe, Oceania and South America. With works that draw attention to a host of personalities and particular passions. If the works are entirely static, having been completed prior to our arrival, it takes little to imagine the camaraderie that likely emerged between its competitors, and that exchange of technical abilities and personal energies wins over anything on display. And for all of the pomp and ceremony, this event serves to explain something of the intention of the governing body to draw the outside world in, in a way that enhanced the country’s cultural parameters, without challenging them.

Prize-winners New Zealand’s Anna Korver, whose creased columns appear as women coming together in conversation. Recalling the works of French artist Xavier Veilhan, whose sculptural constructs elude very clearly to the human and animal form without relinquishing or letting go of the material form. Belgian Kim De Ruysscher’s sculpture, unseen, demonstrates the artist’s ability to think beyond the material form, transforming its properties and appearance from one of weight to that of weightlessness, which, like Paris-based artists Christo and Jeanne-Claude, is applied, or in this case carved out, to successfully camouflage or cover over the spectacle for a longing for what lies underneath, and home-grown sculptor Haider Alwai Al-Alawi, whose totem styled sculpture draws heavily from nature, for its ribbed form, as well, as he explains, to the undulating and animated energies of the sea and sand. In all, this year’s symposium has invited artists of a dozen or so nationalities who have all been rewarded for their efforts, having shaped a square of marble as the event’s artists’ residence in Riyadh. Intended as integral to the city’s cultural events, for it to hold its own, Tuwaiq Sculpture needs to evolve into a serious examination of the attitudes and energies of the material form, as the object has in many ways replaced the painting, as a measure of the sensations and sentiments of the modern experience.

Irrespective of its current limitations, the Director of the National Gallery of Modern and Contemporary Art, Rome, Cristiana Collu, explains its potential best, by voicing that “I think that deciding to invest in a vision for the future of Saudi Arabia that fully includes culture and art represents the willingness to build a different way of living in which beauty is central, and art is necessary for all its forms and variations. We always need a utopia, an idea that tends to disappear as we age. Roots must trust the flowers. Art must be a continuous spring.” Included are interviews with the prize-winners, as well as one of the jury members, who as a panel were invited to explore the place and location of sculpture within a city.

Artist interviews

Tuwaiq Sculpture

Anna Korver

Rajesh Punj: Can you explain your involvement/participation, in this year’s Tuwaiq Sculpture symposium, and how it came about?

Anna Korver: I was invited to attend the first Tuwaiq sculpture symposium in Riyadh, organised by Ali Jabbar. The first event was one of the best I’ve experienced, which is why I applied for this event and was fortunate enough to be selected to attend again.

RP: What was it that you were being asked to do? And how long were you given to create the final sculpture?

AK: We were asked to produce a monumental work in marble in 19 days based on the theme: ‘The Poetics of Space.’

RP: Obviously, the symposium’s choice of material proves very significant, the same for everyone. Is it a material you have worked with before?

AK: Yes, I’ve worked with both black and white Oman marble in previous symposiums including in Saudi Arabia, Qatar and Oman. It’s a beautiful consistent stone that allows for large forms without too much texture and interruption from the stone, which is perfect for my work.

RP: How local was the marble that everyone was using? Or, as I understand, was it from another country?

AK: The marble is from Oman.

RP: In terms of your labour, how long were you considering and cementing the idea, before coming to Riyadh? And then how long, and how much manpower did you have to assist you with the final work?

AK: I began working on my design back in April when the call for proposals was posted. I spent time during the five months after being selected developing the 3D forms into working maquettes. This is one of the largest and by far the most complex works I’ve ever made. It consisted of three separate pieces, which were important to convey the concept and theme of my work. Each section was different and involved very complex 3-dimensional geometric forms. I had one very good assistant, but it was the most physically and mentally challenging work I have ever made.

RP: How important was it for you to create a work that translated across cultures?

AK: My work needed to translate across cultures. My work has a feminine narrative so I tried to speak about something that the women of Saudi could connect and relate to culturally, but I also tried to speak about the deeper global connection of women as a unique group. I believe there is something that unites us all as humans and, as women; we have a special sensitivity and unique strengths that are shared and need to be celebrated.

RP: And that the work is permanent to a particular location in the city, how much of an influence did that have on the final work?

AK: I was not aware of the final location for my work. I feel like it could be installed in many places where it would have an influence.

RP: How does this commission differ from other public works you have done?

AK: Each work I have created is completely different. There are different challenges regarding the materials, logistics and technical demands, cultural and social challenges etc. This one included several unique challenges as I had malaria and the flu for most of the event so, I was needing to push myself more than usual.

RP: Can you explain a little more about your interest in the connection between people and place, and how a material of such measure was able to address such emotional and ephemeral ideas?

AK: I have always travelled a lot and never felt completely grounded in New Zealand, so I developed a feeling about home as a transient concept, something we carry inside of ourselves and take with us wherever we go. This has been quite deeply ingrained in my work, especially since 2017. This gives me a great interest in people that feel completely grounded in the country they were born in or have chosen to reside in. I like to explore how the place they live in moulds them and what impact it has on their thoughts and actions, their idea of family and other human interactions. Vice versa, I’m interested in the environment in which people live, and the way they build, shape, and recreate the land around them to suit their way of life. To communicate these ideas, I use abstract figurative forms which incorporate and assimilate architecture. The stone, while dense and permanent giving the intensity and weight you feel when you look up at a building, still has a feeling of lightness and movement. The change from each of the figures from more realistic to more architectural allows the viewer to feel this shift, or at least this is my intention.

RP: Where is ‘home’ for you?

AK: It’s fluid, but my literal home at the moment is Benin, West Africa because this is where my house, studio, and my husband are. But I will always have a home, a studio, and a familiarity with New Zealand.

Kim De Ruysscher

Rajesh Punj: Can you explain your involvement/participation, in this year’s Tuwaiq Sculpture symposium, and how it came about?

Kim De Ruysscher: I saw the open call on social media to apply. A large part of my oeuvre consists of realistically sculpted objects or images that have links with figurative art or pop art, so I thought it would make sense to put forward such work for this symposium in Saudi Arabia. I began to think and design intensively on a philosophical and compositional level until I finally presented my project ‘Unseen’. Sculpting in a public space is more than just creating; it is an interaction with the public, the local people, to allow them to share their thoughts and comments with the creator. Tuwaiq Sculpture was a valuable experience that differs from working on a static piece. During my time here, people loved to talk to me about art and culture and were very open to sharing their thoughts on global ideas. Participating in the Symposium was an adventure, forming friendships through the theme and the artworks on display in this public space in Riyadh.

RP: What was it that you were being asked to do? And how long were you given to create the final sculpture?

KDR: I was working with the idea of space within a mass, in this case, stone, and the idea of the space outside this mass. Those two opposing aspects have a continuous harmony in my work within the title ‘Unseen’, as well as the philosophy of the piece and the composition of the sculpture.

RP: Regarding that how many days were you on-site, working?

KDR: I started to create the first ideas for ‘Unseen’ in my studio in early February 2021.

RP: Obviously, the symposium’s choice of material proves very significant, the same for everyone. Is it a material you have worked with before?

KDR: It may seem like there was no deliberate choice regarding the material, but I see it differently. There are many symposia around the world using many other materials. The choice I made to participate in Tuwaiq Sculpture was partly due to the beautifully presented material. A large part of sculptures within my oeuvre refers to natural stone, for its symbolic, philosophical and physical content.

RP: How local was the marble that everyone was using?

KDR: The marble came from Oman.

RP: In terms of your labour, how long were you considering and cementing the idea, before coming to Riyadh? And then how long, and how much manpower did you have to assist you with the final work?

KDR: I started to design and draw in February 2021. In March, I made my first 3D models, and in June and July, I made interpretations of models and exercises regarding studying technical monumental sculpture. In September and October, I started to make exact plans and studied scales 1/10 and 1/1 for composition. During October, I started studying surface textures. Throughout November – December I created the marble sculpture on a specific site in Riyadh. I had an assistant available. The total working hours were about 360.

RP: How important was it for you to create a work that translated across cultures?

KDR: It was very important that my piece translated across cultures, I see this as one of the first figurative works for a public space in Saudi Arabia. Starting with this work, maybe, even more, will be possible in the future, making way for interactions between our cultures and the culture in Saudi Arabia.

RP: The sculpture has something of the late Christo about it, of your creating and covering over a work within a work; the idea of what we see over what is insinuated. How important is that kind of layering to your work?

KDR: Links to Christo can definitely be made in my work. However, a vital element in my practice is that the viewer can look not at a reality but at an illusion of reality. We tend to think much farther than what we’re looking at. ‘Unseen’ is a sculpted stone and not a physical drapery. It is important to look further into the image of covering, exploring what lies under the ideas within the sculpture’s composition. I try to stimulate a fantasy where everyone is free to go as far as he or she likes.

RP: I admire you’re taking on such an immovable material and making it appear as ephemeral as fabric. How difficult was that to do?

KDR: Creating the illusion of fabric using such a hard material was a pleasure for me, and not so much an obstacle. I try to pass on to the viewer the experience of this experiment and the freedom in the fantasy of its creation.

RP: How does this commission differ from other public works you have done?

KDR: The difference in cultures from Europe to Saudi Arabia translated in my artwork, as different places with such distinct contexts have always affected the public work I create around the world.

RP: That the work will be permanent to Riyadh, how significant was that to your original idea?

KDR: The paradoxical concept of the work ‘Unseen’ is the very idea that it is seen in a public space. The fact that it is explicitly communicated has a significant impact on the original idea for me.

Haider Alwai Al-Alwai

Rajesh Punj: Tell us about your involvement in the Tuwaiq International Sculpture Symposium 2021, and how it came about?

Haider Alwai Al-Alwai: I filed a request to join online with samples of my artwork, and ‘Desert Lines’ was chosen from a total of over 400 applications from 71 countries.

RP: What was expected from you? And how long did it take you to complete your sculpture?

HAA: Executing a sculpture at such a large scale out of stone requires precise detailing to successfully bring my art to life. The artwork took 21 days to complete while working from 7 a.m. to 5 p.m., including two breaks.

RP: How many days did you spend at the site?

HAA: I spent 21 days working at the site.

RP: It is apparent that the materials on which you worked were chosen by the symposium. Have you ever worked on the same material?

HAA: Yes, I have previously worked with this material, and the model of my artwork was also made of the same material, which is Omani white marble.

RP: How long did it take you to develop your artwork and the concept behind it before coming to Riyadh? How much time were the assistants by your side to get the work done in its final form?

HAA: The concept for my piece came to me a long time ago, which was to convey the folds of fabric in a traditional women’s abaya. Then, the concept of desert lines came to me, which was appropriate for the symposium’s theme. Concerning the assistants, they were helpful from the very beginning and each of us had an assistant to work with.

RP: How vital is it to produce art that connects and brings cultures together?

HAA: Visual arts convey a universal language, which is very significant. I am proud of our kingdom which has welcomed sculptors from all over the world, working at the cutting edge of their field. With the level of planning, professionalism and skill at this symposium, there is no doubt that it will produce beautiful artworks that will continue to inspire for many years.

RP: What motivates and ignites your work as a Saudi artist in terms of landscape and light?

HAA: I have studied the arts academically and find the concepts of landscape and light intriguing. The way I see objects or elements around me is unique, particularly given the kingdom’s diverse geography and climate, which includes deserts, oceans, mountains, valleys, cities, and agricultural regions.

RP: Can you investigate contemporary and essential concepts for your final artwork?

HAA: I shall respond to the question based on my knowledge of my work. Yes, I developed my skills a long time ago and have participated in numerous symposiums, which have taught me a lot. Since I have met and worked with other sculptors, I have been able to exercise my experiences in the arts of formation, drawing and calligraphy. I earned the second-place prize, which is a source of pride for me as well as a victory for art and culture in the kingdom. A committee of six renowned professionals chose all the participating artworks, and the Tuwaiq International Sculpture Symposium is now one of the world’s most powerful symposiums, raising the standard of art in the kingdom and around the world.

RP: How does this participation and committee vary from other symposiums in which you have participated?

HAA: My experience at this symposium varies from others I have participated in. I congratulate the professionalism of the symposium’s execution and the management on-site, as well as the presence of many supporting staffing members, and I thank them all for their efforts. Not to mention the many talks and workshops, a large number of visitors and the massive media coverage.

RP: Is the shape of your existing sculpture adequate for a permanent installation in Riyadh?

HAA: Yes, of course, the theme of my sculpture comes from the heart of our culture, which I expressed in a contemporary way.

RP: Your prize competitors used a tangible substance to process natural and ephemeral concepts. Is this true?

HAA: My sculpture, like a lot of earlier sculptures, was wonderfully finished, suiting both the venue and the capital, Riyadh, and I am happy and proud of my involvement.

Jury Member

Cristiana Collu

Rajesh Punj: Can you explain your involvement/participation, in this year’s Tuwaiq Sculpture symposium, and how it came about?

Cristiana Collu: I’m one of the members of the Committee of Experts for the Riyadh Art Program, an exceptionally interesting collaboration on a very ambitious project that began in 2020. As you know, Tuwaiq Sculpture is part of this program, and I was honoured to have been invited.

RP: Is this your first time in Riyadh, or have you visited the city and country before, which has you already aware of the art scene?

CC: It was my first time visiting Riyadh. I spent a few intense and exciting days really getting to know and working closely with the wonderful Riyadh Art team there. As for the art scene, I’ve become more and more aware of it over the last couple of years. My interest has increased tremendously, thanks to all the detailed information I received as part of the Riyadh Art Programme. I’ve become fascinated by Saudi Arabian culture in general, including its history, traditions, and language. Above all, I’ve been intrigued by their plans for the next twenty years. They’re clearly thinking about their artistic future as a city and as a country. It’s a matter of desire and there’s nothing stronger than desire and will – they’re powerful ways to achieve goals.

RP: When we think of European and American sculpture we are more familiar with an eclectic choice of materials, and of the readymade’ as art, with that in mind how do you feel about the sculptures for the Tuwaiq Sculpture prize all being conceived of in marble?

CC: Marble is an iconic material; it’s so difficult, so delicate, and almost impossible to use. It weighs so much – not only because of its actual weight but also because of its beauty and the unsurpassable masterpieces made from it. I think it was a big challenge for the artists as their only material but also irresistible. On the other hand, it was simply the material chosen for this particular edition. Tuwaiq Sculpture is imagining a very interesting journey around and across sculpture.

RP: Do you see it as ‘traditional’, of giving an artist a block of marble and asking them to carve out a work from it, that goes back centuries, and was there something visually rewarding in a return to something simpler?

CC: I think Tuwaiq Sculpture was a rewarding challenge for everybody involved, for the patrons and the artists of course, but we mustn’t forget that there was a highly accurate selection process as well as a very well-known and widely appreciated curator, Ali Jabbar (who is also a sculptor). As for tradition, I prefer the term ‘classic’ as it implies not just the past but also the present and a vision of the future.

To shape the world of tomorrow, it’s always important to rethink our multiple roots. Finally, regarding a return to something simpler, for me, this is perhaps one of the biggest achievements for artists. Brancusi, the great sculptor, defined simplicity as “complexity resolved”.

RP: How important do you think this event, of the sculptures and their final destinations, is and will be to Riyadh and Saudi Arabia?

CC: It seems to me that this event marks a clear and decisive step forward in Saudi Arabia. The process, the final symposium and the results of that have created a clear path to follow: challenge, quality, relationships, exploration, experimentation, never forgetting the artists as the essential protagonists – no artists, no works of art, no museums, no public art and so on. Investing in culture and art is a shining sign of the times for Saudi Arabia.

RP: I was drawn to your purposeful choice of works at the press/panel discussion, of your references to ‘sound’, the ‘landscape’, and ‘space’; can you explain a little more about that?

CC: I was very impressed by what I saw and listened to during my stay in Riyadh. I felt that it was really important to underline another perspective about the great programme we are working on. The image of a city shaped by its sounds was a way to involve everybody and everything in this project, including silence (we have to wonder if it exists). The sound of a place, of a city, is something special and unique, it’s a great work of art that artists help to build. We all participate in this process. and it has the potential to transform the city in profound and positive ways. It’s a matter of ownership, something that belongs to everyone but is also personal, that we can feel good about, and that’s full of memories and hope. It’s about us trying to “take our time”, to create our own legacy.

RP: With this event in mind, do you think there are opportunities for cultural and artistic exchanges between Italy and Saudi Arabia?

CC: Yes, I believe that this event marks potential opportunities for cultural exchanges between Italy and Saudi Arabia. It was great to get to know some of the artists personally and appreciate their work. We can be ambassadors and mediators to make these exchanges possible. I’ve been thinking of a project already, which I’ve talked to several people about.

RP: Will you be one of those deciding on where the individual works will eventually go?

CC: The Committee of Experts will give suggestions and advice on where the individual works will be placed if requested. There is already a plan, which we have agreed on. It’s important to understand that deciding on positions is very complex and involves many different aspects that require input from other experts in different fields.

RP: From your understanding, how important are the arts in Saudi Arabia? Is there the infrastructure for art to influence generations to come?

CC: Young people always surprise us; they are always ready not just to be influenced but to deal with and to lead transformation. They have ideas about their future, perhaps the ideas aren’t so clear or defined but they can’t live without that will – a need for the future. I’m sure that every artistic initiative and programme in Saudi Arabia will be absorbed and used by the younger generation and that they will be able to pick up the baton of their commitment to the future.

RP: Beyond the Tuwaiq Sculpture Prize, what do you consider needs to happen in Saudi Arabia and across the Middle East for the arts to become more significant and central to everyone’s life? As appears the vision for the country?

CC: I think that deciding to invest in a vision for the future of Saudi Arabia that fully includes culture and art represents the willingness to build a different way of living in which beauty is central and art is necessary for all its forms and variations. We always need a utopia, an idea that tends to disappear as we age. Roots must trust the flowers. Art must be a continuous spring.

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