Drawing artists:

Fahd Al-Naima

Julie Mehretu

 Kim Hong-do

Installation artists:

Rirkrit Tiravanija

 Lucy and Jorge Orta

Saeed Kamhawi

Zahra al Gamdi

Rich McCor (Paperboyo)

Rich McCor (Paperboyo)


 
The British artist Rich McCor (Paperboyo) combined the paper cutouts and photography by placing black designs in the foreground of his image with buildings and structures in the background to create unique compositions minutieusement. He presented different ideas through these photos in a simple way that relied on his broad imagination. He has succeeded in achieving the meaning in elegant, vitality and attractive pictures in the unique and studied show.

My experience examined "Date as a welcome object" is close with his works in the same way but with a different material; I think Paperboy studied the location before and consider the possibilities paper form that most closely and thriving in this site, which I guess if I applied it this way, I could get more in-depth results by expanding the drawing of some hospitality elements, such as dates and coffee spilt from pote or practices associated with it that maybe can create something interesting which can open the new meaning for my work.
 

Rich McCor (Paperboyo)

Photograph

Afrah Babkair, Date as a Welcom Object, short vidio, wire, photo.

Drawing 

Babel Unleased –Mehretu,” 2019–20, Los Angeles County Museum of Art. From left: Stadia II, 2004; Babel Unleashed, 2001; Untitled 2, 2001; Retopistics: A Renegade Excavation, 2001.

Julie Mehretu 

​In her exploring of the past, from the history time up to date, in social phenomenology. Julie Mehretu attracts me with her representations of social behaviour and the psychogeography of space which the relevant point in My drawing with her work. My drawing reflects the historical, cultural practices, spaces, places, and social connections of dates in Saudi Arabia to hospitality in several kinds of psychogeography.

The huge scale drawing that Mehretu works on is still my inspiration to expending my drawing to create the narrative from hospitality history through the relations and practices associated with the date. This side will enrich my drawing language, summarize what I know, and save from knowledge associated with my research concept, which I feel very interested in sharing with the audience.

I feel that the drawing experience on huge spaces it's one of the projects that I want to do in future; however, I want to do this through the societal engagement concept that can be represented in creating social spaces through sharing drawing from participants in different age which can create harmony, the connection between us with more diversity and uniqueness. I think the Drawing room gallery supports this kind of engagement programme that makes contemporary drawing relevant and accessible to the local communities, encouraging self-expression through hands-on making; I would like to contact the gallery and verify this opportunity.

Afrah, A5 drawing , ink on paper 

Rirkrit Tiravanija - Untitled (Free) exhibition recreated at MoMA in 2012. Photo via MoMA

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Afrah Babkair, installation, white fabric, drawing on fabric.

Video, photos for people who interacted with the date gift as a result of this work. 

Rirkrit Tiravanija

In Untitled (Free) (1992) and series of these works, Rirkrit Tiravanija initiated ways cooked for audiences by using cultural food to create social spaces to enable the public to be a part of the art-making process, which focuses on relations aesthetics. Tiravanija said that this work is based on the idea of food in an anthropological and archaeological way; the experiment did not focus on the artwork but on people and their interactions (MoMA, 2011).

 

It is one type of data collection method that practising scholars commonly use in qualitative research and ethnography, Including cultural anthropology, which aims to gain knowledge of a group of people through participation the cultural environment.

 

This work inspired me to search for social relations through the cultural component, which I have experienced In my current artistic works, I was seeking to create these social spaces through the essential elements of Saudi hospitality, and to reach a new context through the interaction of the participants of this culture while presenting it differently. Since the isolation period of COVID 19, I tried to apply it in another way by sending my work to some people in their homes to create these spaces in their surroundings and observe the behaviour resulting from this experiment in the pictures and the video has sent.

 

I want to extend this experience by presenting it in social spaces where I can be looking at the participants' interaction directly. 

70 X 7 THE MEAL ACT XXXIV, PHILADELPHIA, 2013

 Lucy and Jorge Orta


In their Meal Act series, Lucy and Jorge Orta linked food sustainability with participatory gatherings, which relates to my idea about community gatherings and spontaneous public meetings because the date always creates a social community and also always includes the hospitality practices. 

The interesting thing for me in this work is not just the subject of sharing food, community gatherings and spontaneous public meetings. But I had been very interested in the method they use to present the work through all details of shapes, words, and colours in food plates, given these pieces as a home gift of art to all single. This reflects the vineyard, generosity, and kindness, showing clearly how your best to strangers, and it represents the utmost degree of giving. 

I start to think about the way that I need it to interest in the details of drawing and narrative in the fabric piece installation to present this piece of art as a gift for participants, which in my view its reflect the side of tender and generosity. On another side, after I sent the installation for the participants home, I saw they used the drawing that was in the fabric as a background for their own photos and videos; this inspired me to think to draw different shapes, sketches and narrative for the next exhibition which can encourage the participants to take several unique photos and inspire them to find an interestingly several ways to interact with this paice of art.

Afrah Babkair, installation, white fabric, drawing on fabric.

Saeed Kamhawi
In My Mother's Rug project for the Saudi artist Saeed Kamhawi, Saudis' immigration from their towns to the country's main cities was the idea of this work. He used the Rug that was a gift weeding from his father for his mother as an allegory for the last connection from his hometown when he moved to Riyadh city, which is a sample place of hospitality and generosity. He transferred the original material for this carpet to save it in the technology way and reflecting his mother carpet horizontally on the sand in repeated areas defining the Saudi home's seating areas. 

the presentation way that al Kamhawi used it what interesting for me where I had been seen the relocated concept which presented here in the Rug that we used to sit on it in the house spaces to be it the same thing but in photic transparent penetrates our bodies, the sand touch gave them a different emotion while they interact with the work in the way that the artist was not expected resulting deeper the meaning for these elements as place meeting for friends, hospitality and family and childhood memory while playing with sand.

The result of this work made me think about what I do now in my research question in the possibility to create the new context for the original culture after it relocated to a new location which creates social places for a participant with work that resembles my question,  In thinking about the interaction of the audience, whose interaction may lead to deepening the meanings of an authentic culture that we have become accustomed to and become part of our diaries so that through that we obtain other meanings.

In My Mother's Rug project for the Saudi artist Saeed Gamhawia, Saudis' immigration from their towns to the country's main cities was the idea of this work. He used the Rug that was a gift weeding from his father for his mother as an allegory for the last connection from his hometown when he moved to Riyadh city, which is a sample place of hospitality and generosity. he transferred the original material for this carpet to save it in the technology way and reflecting his mother carpet horizontally on the sand in repeated areas defining the Saudi home's seating areas. 

​I inspired by al Gamhawi to relocate the original culture of hospitality places to a new location; the audience action of entering expanded this item's meaning as a gathering place for friends, hospitality places, family and childhood memories of playing with sand to inspired me work with a partispaint to see how interaction leads to adopting the original culture in a new location to code this culture? And how this social coding can determine the meaning of this practice? Through present the hospitality culture practice in a Calpen exhibition.
 

the participants intractio for my work 

Saeed Gamhawia ( 2021), My Mom Rug, instlation.

work with participant interaction 

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Fahd Al-Naima, ink on paper

Fahd Al-Naima

Fahd Al-Naima's drawings focus on one of the cultural symbols in Saudi Arabia (camels). They reflect the legacy, culture, and close relationship between Saudi human and animals that sample for Saudi heritage and desert.

The strong and explicit line of the artist reflects the depth and shorthand of this symbol to result in a group of lines, shapes, elements that express culture, history, cultural practices that related to this sample. The Naima work has always inspired me in rapid, strong and direct drawing, which I find a strong link between my lines in drawing dates and their geographical nature and lines with his drawing.

And it still inspires me to expand the volume of work and delve deeper into the date component and everything associated with it

Afrah, A5 drawing , ink on paper 

Korean artist Kim Hong-do 1745

One of the most famous Korean artists in drawing natural life and reflecting the lives of people in natural environments, which represents farmers and the world of harvest.

This is clearly seen in his famous paintings attributed to n the Chosun dynasty that focuses on the cultural characteristics of Korean food simply and precisely documentation and expression.


His drawings inspired me to use simplicity in drawing to delve into the narrative of the public and social life that has accompanied Saudi society from nomadism until now in representing hospitality and the practices it contains related to dates. This helped me to understand my research and explore it in a deeper way.

I would like to present more in this simple, live style but in more detail, through which it represents the places and literature of traditional Saudi hospitality.

“Kiroseyeonkyedo”(耆老世聯禊圖, Banquet for a Mutual Association of Elderly People), painted by Kim Hong-Doh, private belongings

Taiwanese installation artist, Etopia
, showed A unique experience for the audience in a quiet atmosphere, stimulate the five senses to work and tried to create an ideal society formation of the social bond by inviting the sharing people to community participation, reflection, exchange discussions.
The attention for all details to show this work is the most thing that interested me to present my work to the audience in a way that carries a lot of interest, which represents the concept of giving in presenting something beautifully and interestingly that offers the guest a sense of attention which is a vital side of hospitality and generosity
Including participant interaction, for this practice in the new location which reflection, the 
Besides stimulating the five senses, it made me think about the possibility of presenting my work in a way in which there is a side of traditional hospitality in welcoming the guest with the smell of incense and coffee while paying attention to the general atmosphere of sitting on the ground, which reflects the traditions of hospitality in the contemporary time which create the community place 

Bibliography

  •  Elgibreen, E.  Toonen, P. Noor Riyadh. The Annual Festival of Light and Art. Published for Noor Riyadh 2021, The Annual Festival of Light and Art, March 18 - April 3, 2021. [Accessed: 17 May 2021].

 Zahra Al-Ghamdi is a Saudi artist who works to revive and explore Saudi identity, memory and culture through architecture. She Showcases ancient history by collecting natural environmental elements clay, rocks, leather and water and creatively displaying them in different places.

Her site-work specific (What Lies Behind the Wallssees) in Desert X show the connection between the desert landscapes and architectures through this sculpture that echoes the traditional built which express the emotion and memory that related with her culture in the form of a monolithic wall lid of Solidified forms fertile with cement, soils, and dyes specific to each region. 

Here is my meeting point in presenting the ancient history of the Saudi hospitality culture and the use of dates and their supplements of coffee, cardamom, saffron and date, but the exciting point for me is this reflecting viewer which embodied the idea in this scale contrast between the reality and picture.  Zahra appears her work by high meters, which I have seen in the images that I took for the date which appeared expressively and beautifully as architecture, a Bedouin tent, an original location of this fruit and the related of culture hospitality practices.

This experiment inspired me to apply more in the idea of embodying other different elements that can evoke the culture, memory, places and history in the virtual location inaddition to the traditional hospitality places.