For the second year running, The Saudi Art Council has organized and opened its doors for the Kingdom’s most influential art galleries to present some of the country’s leading local artists’ work. Shara Art Fair, opened on the 21st of Ramadan and running for five days, was held at the Saudi Art Council headquarters after the success of last year’s art fair. Sponsored by UBS, the world’s leading wealth manager, the sponsorship of the Shara Art Fair follows a successful collaboration between UBS and the Council during the 2015 art fairs that showcased the history and direction of contemporary visual arts in Saudi Arabia through a number of exhibitions, most prominent among them “21.39”, providing the public a unique chance to learn about the development of the visual art movement through the eyes of local artists. This year, it added a new feature for the art scene by having presented local food and furniture initiatives that made waves in the area; Medd Coffee and Roastry, Shelter Shoppe, Oil Barrel and Mashareq.
The participating galleries included Athr Art Gallery, Hafez Art Gallery, Cuadro Art Gallery and a silent auction held by Al-Mansouria Foundation, a foundation established by Princess Jawaher Bint Majed in support of creativity in the Kingdom. The gallery is set to encourage more Saudi artists to participate in the growing contemporary visual arts movement that has seen a great boom in the past few years and more galleries are set out to showcase their work for public viewing depicting Saudi culture and history through their eyes. Such an initiative not only encourages artists, but encourages the public to understand what Saudi artists portray through their canvases, sculptures, calligraphy, Islamic art and geometry and photographs, bringing together artists from across the Kingdom in one art space.
The space was divided according to the number of galleries partaking in the art fair and the number of artists showcasing their work this year was impressive with many varied pieces that surely caught the attention of newcomers and art lovers alike. To name a few from the field of Islamic calligraphy and geometric Islamic art, there’s Ahmad Angawi with his take on Hijazi patterns of “Al-Mangour” on glass and number talismans from Dana Awartani’s “The Hidden Qualities of Quantities”. Arwa AlNeami’s “spring camel” photographs in full blown vibrant colors, Ghada Al-Rabea’s pop art, Osama Esid’s “Erk Soos” and Moath AlOfi’s “Haramain” from his recent exhibit “Doors of Barlik” were all a hit with the visitors.
It was difficult to pass by and not stare in awe at the the intricate details of Izzat Batrawi’s “relief sculpture” with impressively fine and designed wood work , as was the neon installation by Majed Thobaiti depicting the ever so known arabic version “hhhh”.
There was an abundance of paintings displayed from various well-known and young up and coming artists, each painting with a significant concept of its own, each telling a story. There’s Tagreed Bagshi’s beautiful painting signifying the heroism of women and mysticism on a canvas aptly named “paradise”, a beautiful mix of collage and print in Garden 1 from Filwa Nazer’s Green Library Series. There was “The Ramadan Story” by Ola Hejazi, the vibrant work of the seven tawaf or circumambulations around the Kaaba series by Siddiqa Juma, Ammar Al-Attar’s five print series “salah” in an exquisite portrayal of the daily sacred ritual of prayer, as never seen before.
The Kingdom is seeing a new wave of art enthusiasm in all its forms with centers and galleries offering the best services to steer up and coming artists into the path they need to progress and evolve. Society is also opening up to the art movement, understanding the concept of art bit by bit and allowing a new contemporary wave to be displayed and appreciated.
Oil Barrel founders Mohammed Awlia and Omar Naseef were participating in the art fair as part of an initiative to support local brands as well as to integrate them with the art scene, a mix that sat well with Oil Barrel founders. “We enjoyed being a part of Shara Art Fair as it was also an opportunity for Oil Barrel to give its own rendition of the artistic history lesson through our version of Vision 2030. We chose a concept that was similar to the one Prince Mohammed bin Salman presented but through a hundred year timeline, vision 1930. It was a period of discovery and entrepreneurship, fast forward a hundred years later and the concept can be applied to the now.”
Oil Barrel’s corner of the art fair featured a centerpiece of stacked oil barrels with calligraphy work by artist Shaker Kashgari, a large mural by mother and daughter duo Siham Abdulgadir and Majdaline Bakr and original newspaper clippings from the 1930’s recreating a timeline on the very beginnings of the oil industry of the Kingdom. “Being part of Shara Art Fair also gave us the opportunity to test drive Oil Barrel’s latest furniture line, it was a success with lots of orders coming in. We literally recycle and reuse oil barrels in creative methods related to our brand,” said Mohammed Awlia.
Medd coffee and Roastery, a new favorite among Jeddawis was also a participant, serving their signature 100 percent organic, fair trade and freshly brewed specialty coffee, hot or cold of course, as well as sweets and snacks from local home businesses, an initiative they’ve been supporting since opening.
Shelter Shoppe, a concept store collaboration between husband and wife duo Faisal Sheraiff and Reem Basaad, was also a participant in the fair presenting home décor selected especially by the duo. “Shara Art Fair shared the same concept as the one we took up on ourselves to present in Shelter Shoppe, it was great being a part of such an amazing art movement. We choose pieces that are one of a kind. We handpick them ourselves and much to our pleasure, visitors were very pleased with our products and shared their delight as they browsed the area,” exclaimed Faisal Sheraiff. “We will definitely be participating more with The Saudi Art Council, the art lovers are exactly the target market we strive to attract to share our love for art.” Mashareq, a store that specializes specifically in traditional arts and crafts of the Islamic heritage, also debuted some of its magnificent wood work, handcrafted furniture and home accessories by Middle Eastern artisans. Their displays featured works that literally would take you decades back when woodwork was flaunted in homes, each uniquely crafted by the finest craftsmen.
The Saudi Art Council in partnership with the many galleries at the Shara Art Fair are helping artists in the Kingdom to come forward and showcase their work, simply by arranging art exhibits with exceptional concepts.
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Shara Art Fair celebrates Saudi artists
Shara Art Fair celebrates Saudi artists
Ministry of Culture-backed incubator helped Jeddah local create her first graphic novel
- ‘I feel seen,’ says Saudi storyteller Noura Alashwali
JEDDAH: Visual storyteller Noura Alashwali is one of a generation of Saudi artists whose personal journeys mirror the Kingdom’s cultural transformation, meaning their creative impulses are increasingly backed by public institutions and have an audience ready to listen.
“Creative expression was never just a hobby for me; it was a need,” Alashwali, 37, told Arab News. “From a young age, whether through writing or drawing, creativity felt like a part of who I was. And it still is.”
It was her education at Dar Al-Hekma University, where she obtained a degree in graphic design, that gave structure and language to an instinct she had carried since childhood.
“My earliest memory of drawing with pen and paper is when I was four years old, and I still have those drawings,” she said. Like many artists, she experimented with various mediums as she grew older. Eventually, she found her way to a Saudi art center that she described as “a very popular and wonderful place to learn art.”
At university, Alashwali’s work turned digital. “When I learned about the major, I immediately felt that I belonged. Graphic design is about visual communication. It’s not just about creating art, but about communicating ideas, thoughts, and stories.”
Those ideas would take on a personal weight in 2023 with “Deema and the Old Letters,” her debut graphic novel.
When an idea comes to me (now), I take it more seriously. I honor it and commit to it. I say, ‘Thank you for choosing me. I’m going do my best to manifest you.’
Noura Alashwali, Saudi storyteller
“It was a way for me to process my grief after my mother passed away in 2023,” Alashwali explained. “I was simply writing and drawing while processing very heavy emotions.”
What transformed that intimate archive into a published work was institutional support. In early 2024, Alashwali came across an open call from the Ministry of Culture’s Literature, Publishing and Translation Commission for its Authors’ Incubator program.
The inclusion of graphic novels and comics among the supported genres caught her attention. She assembled her materials into a PDF, applied, and was accepted.
For the six-month Riyadh-based program she was paired with a mentor, Dr. Hanan Al-Ghadi from Princess Nourah University, and supported logistically. By November 2024, she had signed with Rashm, a publishing house collaborating with the commission.
Beyond the mentorship and funding, the experience reshaped her sense of self.
“It felt like a dream. Because of institutional support from the Ministry of Culture, I feel validated. I feel seen,” she said. “It encouraged me to take my practice seriously — not just as self-expression, but as something that contributes to the Saudi cultural scene.”
Initiatives such as the incubator program do not merely teach skills; they signal that deeply personal stories of grief, love and memory have a place in the public cultural sphere.
While Alashwali hopes her work will be translated into English, publishing in Arabic for Saudi readers was the natural choice. “It’s great to contribute to the local scene with an Arabic graphic novel,” she said.
“Deema and the Old Letters” traces a young woman’s journey through pain and grief, using moonlit symbolism and visual poetry to explore art as a means of self-discovery and healing.
“I wanted it to feel intimate and personal. So ‘Deema’ is also designed like a journal,” Alashwali noted.
The protagonist’s depression is juxtaposed with the warmth of Jeddahwi landscapes.
“Jeddah is home. And when you are home, you’re being your most authentic self,” Alashwali said. “It’s a very kind and happy city; very welcoming and down-to-earth.”
The literature commission’s incubator also expanded Alashwali’s creative world, connecting her to artists from across the Kingdom, including Riyadh, Baha, and the Eastern Province.
“We have lots of beautiful cultures and stories in Saudi Arabia,” she said. “I have developed close friendships which contributed to my creative practice and personal growth.”
This sense of cross-regional exchange reflects a shift: Artists who once worked in silos are now being given room to meet, collaborate and be heard.
“What I enjoy most about being a storyteller in Saudi Arabia is that the scene is still fresh. People notice new work and genuinely connect with it,” Alashwali said. “It doesn’t feel overcrowded and overwhelming.”
Besides the literature commission, she has worked with the Visual Arts Commission and the Heritage Commission, including a workshop on creating eyeglass frames using Saudi craft techniques, created in collaboration with Italian gallery Moi Aussi and the Saudi Artisanal Company.
At Hayy Jameel in December, as part of the three-day “Soul of Palestine” program, Alashwali led a visual storytelling workshop where participants created digital illustrations to celebrate Palestinian heritage and culture.
Earlier in 2025, she participated in the Jeddah Book Fair and the Riyadh International Book Fair. In Jeddah, she worked with younger audiences on transforming emotions into short comics. In Riyadh, the focus shifted to books and artistic practice.
Across these settings, her metric for success remains emotional rather than technical. “It’s when I feel the participants have opened their hearts and try to transform their emotions into a comic, regardless of the drawing skills,” she explained.
Alashwali’s next project is inspired by conversations with her five-year-old daughter. “One day, after smelling a vanilla perfume she loves, she told me: ‘Mama, I think this is the smell of my heart.’ She believed it completely,” she said. “That idea stayed with me — the thought that the world might be kinder if we could smell hearts. So, the project will take the form of a directory of heart scents.”
Her plans for 2026 are modest. “I hope to dedicate more time and energy to my art,” she said. “If that doesn’t happen, publishing my next book will be enough.”
Underpinning it all is a philosophy she returns to — one espoused in one of her favorite books, “Big Magic,” in which Elizabeth Gilbert writes about ideas as living entities searching for someone to bring them into the world.
“As a Muslim, I believe these ideas are created by God,” said Alashwali. “When an idea comes to me now, I take it more seriously. I honor it and commit to it. I say, ‘Thank you for choosing me. I’m going do my best to manifest you.’”
