Jasmine has a unique significance in the social structure of Jazan, not merely because of its enchanting fragrance, but also because of the prime place it occupies in various activities.
Young women in the region traditionally wear the flower or flower buds in the form of garlands.
Jasmine also occupies a prominent place as an item of decoration on social occasions such as bridal reception and birth celebrations. Guests are welcomed with these flowers. Florists arrange the flower and its buds in different forms and garlands.
The plant is cultivated commercially in the province, but women also grow a few plants in their houses or gardens to keep their homes filled with the fragrance.
The largest variety of the flower in Jazan is known as Azzan jasmine. Its buds are long and mostly grown in mountainous areas and are light yellow in color.
Another popular variety is intensely white and garlands are made of its buds. Some men wear the white ones on their heads. There are some varieties that spread strong scent around during the night.
The plant can be erect, spreading or climbing shrubs and vines. The flowers appear in bunches. The flower buds meant for distant markets can be preserved in ice for days.
It is abundantly available in summer while its price shoots up in winter when the flowers are few.
Jasmine has a unique place in Jazan
Jasmine has a unique place in Jazan
‘The Wild Within’ sees artists breathe new life into Mideast buildings
DUBAI: Lens-based artist Ryan Koopmans and digital artist Alice Wexell are staging a showcase at Dubai’s Leila Heller Gallery that breathes new life into regional buildings.
The series of digital artworks is part of the exhibition “The Wild Within,” featuring images of old structures in Beirut, Istanbul, and Abu Dhabi filled with wild flowers.
Two of the largest works, “Heartbeats” and “The Wish,” are displayed using Ventana, a microLED architectural display surface created by visual technology company Megapixel.
The former artwork depicts the entrance hall of Qasr Al-Watan, the UAE’s presidential palace in Abu Dhabi, while the latter reimagines the upper floors of the Emirates Palace Mandarin Oriental in Abu Dhabi.
“Each building we work with comes to us through a combination of research, travel, and intuition,” the artists told Arab News in a joint statement.
“We are drawn to structures that carry both emotional and historical resonance, often buildings that once embodied human ambition and now exist in a state of quiet transformation.”
Koopans and Wexell made sure to research the context of each building they choose to recreate, saying “an old villa in Jeddah or a former school in Sharjah each hold their own cultural memory, influencing everything from the lighting and atmosphere to the plants and flowers that we digitally sculpt and implement into the photographs.”
The hypnotic works depict the interior of buildings in the region, with digitally rendered flowers carpeting the floor in a bid to “(reimage) these spaces (and) explore the relationship between nature, place, and time, while celebrating each site as a unique work of architecture with its own spirit and story,” the artists said.
Koopmans is of dual Canadian and Dutch heritage, while Wexell is Swedish and based in Stockholm, so it is noteworthy that both artists chose to explore the Middle East for their latest project.
“In the Middle East especially, the architecture reflects a layered past that merges different styles and eras, while also expressing a sense of renewal and forward-looking energy, particularly in the region’s fantastic contemporary buildings. We are drawn to the symmetry, geometry and patterns that are found not only in nature itself, but in the architectural language of the region both past and present,” they said.
The series — featuring works such as “Adore You,” “Between Worlds,” and “Blossom of the Ancestors” — explores contrasts between the natural world and human-made forms, as well as the traditional and contemporary worlds.
“We are interested in how these elements coexist and merge into one another, creating a sense of hyperrealism that feels both familiar and imaginary. By merging photography with digital sculpture, the artworks question where the boundary lies between documentation and invention, and how technology can extend rather than replace our sense of the natural world.”
Although the scale of the artworks ensures they leave the viewer entranced, it did pose challenges, according to the artists.
“Presented at a large scale, every texture in these artworks becomes visible, which can be demanding but is also incredibly rewarding. The magnified detail allows the visceral and atmospheric layers of the pieces to come through with greater impact,” they said, adding that each piece took “many months” to create.
“Ultimately, we want our collectors to experience a sense of wonder and contemplation, as if they are standing inside a dream that feels both entirely real yet unreal.”
The exhibition runs until Jan. 15, 2026.
