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JEDDAH: Saudi artist Lulua Alyahya’s “Nafs,” running at Jeddah’s Athr Gallery until March 25, is her first solo show in her homeland.  

“The title means ‘self,’” Alyahya tells Arab News. “I thought that would be suitable for my first Saudi solo. I’ve exhibited loads in the UK, but the work takes on a completely different meaning when it’s home. The work is very much about the Gulf in general, but specifically Saudi in a lot of ways.” 

The 26-year-old is a graduate of the Slade School of Fine Art and Goldsmiths, University of London. Her work blends personal and collective narratives to explore identity through introspective, minimalist paintings.   

Alyahya’s process is intuitive. Her latest works, primed with black gesso, embrace darker tones and undefined backgrounds. Here, she talks us through five pieces from her current show — something she says she doesn’t find that easy.  

“It’s kind of hard to speak about my work because what I hope is that people see it and see themselves in it. That’s kind of the story behind the title too. I wanted a word that people could literally see themselves in and for that to be the underscore behind all the images.” 

‘Jubbah Petroglyphs’ 

I made this painting in 2023. At the time, I was really fascinated by pre-Islamic petroglyphs in various parts of Saudi Arabia. This one is from Jubbah, near Hail. My family is originally from Hail and when Saudi started to take all these incredible initiatives of uncovering our pre-Islamic history and integrating those stories into our national identity, I just got super interested in looking through, like, Aramco’s archaeology archives and all these different things. I spoke to friends and family about their experiences of these places. I really wanted to make a painting of this specific rock where there are these repeated carvings of camels; I’m interested in camels as a symbol as well, because they’re obviously visually linked to this part of the world. If you go to a tourist shop in the Gulf, you get camel keychains and stuff. I don’t know if ‘kitsch’ is the right word — probably not — but it’s just feels very obvious; it’s very on the nose. And I’m interested in taking symbols that feel on the nose and making them mysterious or playing with the effect of that imagery. I pull from different things all the time; there’s never just one thing that I’m looking at, it’s more that I’m living, reading, speaking and then the paintings come out. There’s a painting I have at Hayy Jameel called “Boardroom” which has these men sitting at a meeting table and looking at a wall which has one of these petroglyph camels on it. Sometimes, there are references to other paintings — little callbacks. There are a lot of inside jokes. Humor is such a big part of the work. 

‘Smoke Break’  

The titles always come after the paintings, and I often leave things untitled — but this one kind of lends itself to the title because the guy’s having a coffee and smoking a cigarette. This is just a painting about rest, but there’s a lot of energy in the way that I’ve painted it; it’s very gestural and there are lots of these marks and splotches of paint.  

‘Magic Chocolate Ball’  

These girls are very funny. Like I said, humor is a big part of my work and this is a piece where I had fun and it was fun to show people. It’s based on a memory of a dessert that I think is so familiar to people living in the Gulf; you order this chocolate ball and the waiter comes over and pours hot melted chocolate on it and the ball melts and reveals something inside of it. I’ve seen it so many times and it just came to mind as I was painting, super-impulsively. What I’m interested in is how people see themselves, or others, in the imagery — or how they don’t. It’s a satirical approach to what’s happening in society. Satire is super-important, but it’s never just one thing or the other — it’s always a combination of various different tones and positions that I’m taking. Like, this is funny to me and I’m choosing to show it, but obviously there’s an emotional connection happening as I’m painting it. 

‘Untitled (2024)’  

It’s this guy on his phone sitting near a pool. He’s a solitary figure. Then there’s two horses and two palm trees. This took me quite a few months to paint. Sometimes I’ll have an idea and paint it and it doesn’t work out at all. That happens a lot more than you’d think. So, I’ll cover something over, then add something new and then cover that thing and then add something new, just waiting for this moment where the elements carry some kind of poetic logic that I trust will translate to the viewer. It’s always hard to articulate — but very easy to know — when it hits that point. 

‘Guard Dog’ 

I love dogs. I paint them a lot. This one is a German Shepherd, which is a guard dog. It’s based on a sketch — it’s very similar to a lot of other works I made. Sometimes, I get stuck on something and it repeats itself across multiple works and other times it’s a one-off thing. I prefer not to try and control it and just let things direct me. 

ASHGABAT, Turkmenistan: Mekhri feels “a sense of freedom and self-confidence” when she’s behind the wheel of a car – despite being forced to drive illegally because of an unwritten rule preventing women getting a license.
In Turkmenistan, the reclusive Central Asian state where she lives, young women are effectively banned from driving.
“I know the rules of the road. I drive calmly, don’t overtake anyone and know how to park,” the 19-year-old said.
Like other women interviewed by AFP in Turkmenistan – ranked by rights groups as one of the most closed and repressive countries in the world – she withheld her surname.
There is no legislation specifically outlawing women under 30 from obtaining a driving license.
But it is one of many informal prohibitions that is universally followed, so women that do drive must do so without this precious permit, which is indeed against the law.
“When my daughter wanted to enroll at the driving school, we were told that she could take lessons but that she would probably not pass the test,” said Guzel, Mekhri’s 57-year-old mother.
So instead of paying for lessons, Guzel assumed the role of instructor and now takes Mekhri outside the capital, Ashgabat, to practice.
“Where there are few cars, police officers and cameras, I let my daughter take the wheel and I teach her,” Guzel, who started driving when she was 40, said.
Among the other transport-related diktats imposed by father-and-son duo Gurbanguly and Serdar Berdymukhamedov – who have ruled the country one after the other since 2006 – are a ban on black cars.
Owners have been forced to paint the vehicles white, the favorite color of Gurbanguly, whose official titles are “Hero-Protector” and “leader of the Turkmen nation.”
Many young women share Mekhri’s frustration.
“I wanted to take my test at 18. At the driving school, the instructor immediately warned the many girls there: ‘You’ve come for nothing. You won’t be able to take it,” said Maisa, a 26-year-old saleswoman.
“But up to the exam, driving schools take both boys and girls, because they pay,” she said.
Goulia, 19, said her parents had wanted to buy her a car when she went to university so she could be more independent, do the family shopping and take her grandmother to hospital and the chemist’s.
“But because of the difficulties that girls like me face getting a driver’s license, my mother said she would have to postpone the decision,” she said.
“I’ve just turned 19 and I can’t get a license but the boys can and I don’t understand why,” she added.
Turkmenistan’s motor transport agency did not respond to an AFP request to comment.
Contacted via phone by AFP, one driving school said “women have the right to enroll in the course and take the exam” before abruptly hanging up.
But another instructor from Ashgabat acknowledged the informal ban.
“It is due to a sharp increase in accidents involving female drivers,” the instructor said, speaking on condition of anonymity.
“After an investigation by the authorities, it turned out they were simply buying driving licenses,” the instructor said – a claim AFP could not verify.
Rules have also been tightened for women over 30 who are not covered by the informal ban.
To register a car in their own name, they have to show a marriage certificate, family record book and a report from their employer.
Authorities routinely reject accusations that they are restricting women’s rights.
Responding to a recent United Nations report criticizing the country, the government said: “The motherland treats mothers and women with great respect.”
Ahead of International Women’s Day on March 8, President Serdar Berdymoukhamedov gifted every woman the equivalent of $3 – enough to buy a cake or six kilograms (13 pounds) of potatoes.