Riyadh's Fragments of Folklore exhibition mines Arab heritage to reckon with a globalised future

In recent years, Saudi Arabia has embarked on a path of societal transformation. With so many eyes focused on the future, there are concerns that the kingdom – and other countries – run the risk of losing touch with what makes them unique in an increasingly globalised world. This question of continuity sits at the heart of Fragments of Folklore, a new exhibition in Riyadh’s Jax District.

Created through a collaboration by Thaa, Mir'a Art and Triyad, Fragments of Folklore is a diverse collection of works by four artists, exploring how notions of materiality, patterns and sacred geometry translate into contemporary art.

Each piece aims to act as a catalyst, facilitating a dialogue on the nature of heritage, not as something to be preserved in archives and sterile display cases, but as something that persists in everyday culture.

“This exhibition is more than a presentation of works,” Lisa De Boeck, exhibition curator and founder of Triyad, tells The National. “It is a movement that brings visibility to artists shaping the artistic landscape of Saudi Arabia and beyond. By bringing these voices to the forefront, Fragments of Folklore actively contributes to shaping art history, ensuring that heritage is both preserved and dynamically reimagined for future generations.”

“Our core mission has always been to connect East and West, to create meaningful opportunities for Mena artists,” says Nadine El Guiddawy, curator and co-founder of Mir'a Art. “For generations, the narrative of our culture has often been told from an external perspective. Now, we have the opportunity to share our story in our own voice.”

Displayed within a “labyrinth” of wooden partitions, evoking traditional Saudi handcrafts, the exhibition introduces each participant in turn, leading visitors on an immersive journey of discovery.

Inspired by the Quran and classical poetry, Saudi artist Lulwah Al Homoud’s practice balances structure and spirituality. Her works deconstruct traditional Arabic calligraphy and reimagine it as repeating geometric patterns, utilising a visual language created using abstraction and mathematical systems.

“Folklore was once a form of innovative artistic expression, continuously shaped by generations before becoming fixed as tradition,” says Al Homoud. “I believe that, while preserving tradition is important, evolution should not stop. I seek to reimagine these traditions in a contemporary context, [allowing] me to bridge the past and present, making Arabic script more accessible.”

Multidisciplinary Bahraini artist Rashid Al Khalifa combines tradition with modernity, transforming the stylistic elements of geometric Islamic art into more contemporary forms. His works range from his first wall painting – made at the age of 14 – to the abstract 3D sculptures of his Parametric, Spectrum and Wave series featured in the exhibition.

“Despite the differences in style, there is a common denominator throughout my practice; an ongoing observation of the changes in the landscape of Bahrain, which has undergone such a dramatic transformation over the years,” Al Khalifa explains.

“With change and transition, however, comes loss,” he continues. “A number of sites no longer exist, and with them, certain practices have been lost, or abandoned. My philosophy honours [these] traditions by contemporising them.”

Another Saudi artist, Raeda Ashour, creates hand-embossed compositions. She employs pastel colours and gold leaf, as well repeating plant and animal motifs, to evoke Islamic visual heritage, sacred geometry and the traditional vernacular architecture of the Arabian Peninsula. Through these aspects of shared cultural memory, Ashour encourages viewers to reflect.

“Through my work, I hope to inspire others to connect with their roots and celebrate this heritage,” says Ashour. “Overlooking the genius and benefits of local arts is to neglect one of the most attractive and accessible features of our culture. Cultural heritage is more than a collection of artefacts; it is the very fabric of our society.”

Pakistani visual artist Hamra Abbas brings the historical craft technique of Mughal marble inlay into contemporary sculpture.

Created from layered natural stone, her topographical works recall Quranic descriptions of paradise, gardens and aerial landscapes, exploring themes of beauty, place, ecology and the passage of time.

“The works I am exhibiting are based on an old technique of stone inlay,” says Abbas. “It has been practised in South Asia since the 17th century. I have reinterpreted this technique to create new sculptures that blur the boundary between painting and sculpture. It is a visual language rooted in the decorative, reimagined through themes of ecology, desire and devotion.”

Fragments of Folklore runs until May 12 at Jax District