Does your art look like you? Does your art look like you?
Added on 2020-04-07
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Research titleDoes your art look like you?Exploring the issues that have shaped women’s art in Saudi Arabia in contemporary art.KeywordsSaudi woman artArts under the conservative societyGeometric grid patternCreativitySummary:This study will examine a Saudi woman as an artist before and after the oil revolution 19801. Exploring the ways that she expresses her thoughts, emotions, intuitions, and desires within the Saudi Arabia conservative society. What is the content that she tries to instill in her art becomes paramount. This thesis will contain two components: the creative practice and the written thesis. Artworks will be expressed in paintings as well as sculptures, being tools of investigation and the inquiry into the characteristics of the Saudi female art. The context accompanied by the commentary model2 will be helpful in articulating the linkage between the written thesis andthe creativity in describing artefacts components in this paper. The paintings, digital designs, and the sculptures will be the main components in advancing this thesis, which will involve integration with the concurrent theoretical investigation as well as studio developments. Theartefacts will be used as a manifestation of the experience I have in my country.The methodology of this study will be based on the principles of actionable research. A system of a cyclic approach involving four steps, planning (visualization), acting (practices), observing (impact), as well as reflecting (results) based on the developments of the studio practices. 1Saudi Arabian oil was first discovered by the Americans in commercial quantities at Dammam oil well No. 7 in 1938 in whatis now modern day Dhahran. 2 According to (Milech and Schilo 2004) the commentary modle is “explanatory annotation” and focuses on the creative process, the creative works. It’s a reflexive, personal and subjective account by the researcher, who speaks as an insider who draws on what they uniquely know and have experienced in relation to their creative works and processes.
The context3 model will be incorporated in the critical analysis of the Saudi woman artworks.Using context model will ensure that the information is well organized, and expressed in a simple and structured manner to the better understanding of the content as an interpretive method of inquiry into the understanding of the nature and spirit of Saudi woman art.The Commentary model4, involves an annotation, explication on the artworks. As "the meansby which the investigation [entailed in the creative or production process] is explained or described" (Mann and Fletcher 2004). This model has the advantage of establishing the relationship between the exegesis and the creative or production component of a research thesis - the exegesis is a commentary on the creative work or production piece, to preserves the theory-practice divide. So that creative and production practices are the primary terms and academic writing is the supplement.The rationaleAs a Saudi female artist, I find this PhD program is an opportunity to explore the experience of contemporary art in Saudi Arabia through woman artist perspective who belong to the same conservative society. Practice-based research by creative practitioner is a matter of personal interest as a means of expressing personal thought and a creative medium of articulating ideas and memories (Kingston 2007). For example, artistic works in Saudi reflects the ideologies about women and the society in general. However, the main interest in this study is to articulate themes of middle class, religious characteristics, and the male dominance in Saudi Arabia. Empirical reviews suggest that the barriers to the position of women in Saudi include cultural, religious as well as emotional and perceptual barriers (Fluri 2005). This research proposal is therefore centered on the artistic character of the Saudi woman as defined by her nature and other significant factors (whether innate or acquired) that have shaped her artistic abilities.3 Context model has been identified by Milech & Schilo (2004), in it; the exegesis performs the role of a contextualising text. In this model, the researcher chooses a topic of discussion from one or more of the wider contexts of the creative practice, such as theoretical and philosophical frameworks, an historical or critical analysis of related practitioners and precedents, or the professional and industrial conditions of the practice.4 According to (Milech and Schilo 2004) the commentary modle is “explanatory annotation” and focuses on the creative process, the creative works. Its a reflexive, personal and subjective account by the researcher, who speaks as an insider who draws on what they uniquely know and have experienced in relation to their creative works and processes.
As a Saudi artist, I have great motivation to pursue the artistic abilities of a Saudi woman given the nature of the environment she continues to thrive in and the challenges she is facing. It is interesting that I am exploring the contemporary art and its new experiences in the Saudi Kingdom, based on the perspective of the female artist who grew up and lived in the same community. My interest is also driven by my focus on art, being a metaphoric observation and a way of expressing personal thoughts, ideas, and memories in various mediums.It is no secret that the emergence of the artistic skills among the women in Saudi Arabia will spark curiosity among the people because of her privacy. Many questions linger on the issue of the Saudi Women capability to indulge in the work of art that has gained appreciation at the world stage. Better still, to understand more about Saudi woman and her artistic character pattern, there are many questions to be asked. The formulation of those questionshas to be authentic and objective in order to enhance better understanding of this research. For instance, it is important to inquire into how the artistic journey started, the motive behind a woman art in Saudi (whether it is an act of need or expression of desire), the content included by the woman in her art and its interpretation, and the visual contribution to the Saudi woman art in visual culture. It is also important to inquire whether such contribution is recognized. This research will inquire into how the Saudi woman expresses herself from her humble beginning before oil revolution 1938 until becoming a contemporary artist within the concept of modern art.Research QuestionsTheresearchaims toanswer the following questions:- Does the nature of Saudi conservative society limit woman sense as an artist? How she deal wit it?- Do her contributions to visual art remain neglected? Why?MethodologyResearch designThe objective of the research paper will entirely be based on creating advanced knowledge as a new contribution in the field of knowledge. Moreover, the research project will be aimed at enhancing and, at the same
time, promoting certain features directly related to Visual art, particularly in Saudi Arabia. Studio based creative practice approach will be the center of my research. The practice based research will be contextualized in the dissertation through exploring "Saudi woman artist identity" through the fields of history, oil revolution 1970s, consumerism and conservative society. The methodology of the study will be based on the principles of actionable research. This defines a system of a cyclic approach involving four steps namely, planning (visualization), acting (practices), observing (impact), as well as reflecting (results) based on the developments of the studio practices.Islamic Geometric GridI will experiment Islamic geometric pattern through different forms, painting, sculptures andmixed media; and use geometric Islamic grid by its metaphoric meaning when it creates on awholly intuitive basis, more widely than simply to grid based work. The context model5 will be incorporated in the critical analysis of the Saudi woman artworks.The context model works to ensure proper information organization. Additionally, it willcapture and produce data in a well-organized manner, thus presenting more information onvisual art relation to Saudi women (Al Hariri, 1987, p.54).‐MaterialsThe materials and equipment that will be used in the research are categorized into various groups depending on the tasks that each of the materials/equipment will to be used on. In this particular case study, the research will involve the use of equipment/materials during studio research which involved materials such as painting, sculptures and mixed media. These materials will have a distinctive role of achieving data and substantial 5 Context model has been identified by Milech & Schilo (2004), in it; the exegesis performs the role of a contextualising text. In this model, the researcher chooses a topic of discussion from one or more of the wider contexts of the creative practice, such as theoretical and philosophical frameworks, an historical or critical analysis of related practitioners and precedents, or the professional and industrial conditions of the practice.
information on Islamic geometric grid pattern by experimentation (Fischer, 2003, p.19). I will, therefore, use geometric grids in my prospective artworks to obtain the required information from a pure art perspective. This will occur through the help of the grid in expressing the gaze that has been improved by an analytical curiosity following the grid pattern validation underlying structure.Additionally, through revealing the primary mechanical framing in Islamic art, the research will emphasize on the impermanence of the physical world.The objective of this research paper is entirely based on creating advanced knowledge as a new contribution in the field of knowledge. Moreover, this research project looks to enhance and, at the same time, promote certain features directly related to Visual art, particularly in Saudi Arabia. Thus, the section analyzes how these materials and equipment help in exploring the issues that have shaped women’s art in Saudi Arabia through visual art creative practice.In preparation of the acquired data for analysis, I will utilize the grid in my artworks as a fundamental component of the total image. What will happen altogether is that I will utilize the Grid by its metaphoric meaning, which will include creating a wholly intuitive foundation, whereby the viewer’s experience is recognized and made richer through a procedure of analytical deconstruction, which pertains more widely than basically to grid-based work. On the other hand, acquiring the main component of all my artworks as the gridpattern will be carried out regarding a visual structure. Such a process, according to Fischer, will be helpful in attaining the long term goal and objective of this research (Fischer, 2003, p.16). Thus, the main element of my artifact will be “Islamic geometric grid” and my mission is how can I represent it in new ways that can enhance or change the stereotyping and dissolve mental images about women's art in Saudi Arabia in contemporary art .
Hamdan adds that to critically analyze any particular studio environment as will be done in the research, the research questions to be used should relate to the research topic (Hamdan, 2005, p.48). Based on the above, the questions on how I can convert the 2D grid to 3D grid contemporary sculpture by using materials that e plasticity and flexibility for morechance to testify the power of imagination and how this creative practice can be an effective way to answer my research questions. It will be achieved, or rather it will be made possible thanks to the exploration of the relationship between the primary mechanical structuring in Islamic art not only as a prop or a basic scheme, but as an integral element in the total image.The techniques to be used include repetitive symbolism and Grid philosophy. The techniques will be utilized or rather used to capture the viewer’s full attention. Additionally, another technique which will be used; which Smith advocates for in his book, involves acquiring knowledge of more about others artist who interested in the similar area through the inquiry of related studio research carried out by others internationally (Smith, 1995, p.83). Moreover, it will allow for more research methods to be used and tried which can work in alignment o the major research procedure.Geometric Islamic techniques that use will include repetitive symbolism and Grid philosophy to getting the attention of the viewer, which enhance his or her capability to ask on the interrelationship between the research questions as well as artworks.Unity and infinity are the main components of Islamic art. Thus this methodology will seek to incorporate the two in trying to understand the Saudi society through thoughts and beliefs (Unity), and the (Infinity) of the creative practices by itself as a tool of investigation togo through those boundaries of that conservative society. Finally, it seeks to encourage one to think about the impermanence of physical world and instability of material world sentiments.
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