Rashed Al Shashai

Acquired directly from the artist by the present owner 

This work is in very good condition. The colours in the catalogue illustration are fairly accurate; please note that the vibrancy and luminosity depends on the light exposure. The darker the room the brighter the colours.
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Born in 1977 in Al Baha and then raised in Mecca, Rashed Al Shashai is one of the most effervescent contemporary artists from Saudi Arabia.  His monumental installations comment on superficiality and the lack of spirituality of mankind, which is questioned throughout his body of work. Heaven’s Doors is reminiscent of stained glass cathedral windows, and on closer inspection the work references not only the spiritual, but also the mundane. In the physical assemblage of household products such as plastic plates and strainers, Al Shashai asks audiences to reconsider what we ascribe value to: the material or the truly spiritual?

Lina Lazaar, contemporary international specialist and co-head of the Doha sale, discusses with Rasheed Al Shashai his work Heaven's Doors, his ongoing artistic practice, his influence and his role as an artist in Saudi Arabia’s growing art scene.

LL Rasheed, first of all tell us a little bit more about this mesmerising light-based relief installation series you are currently working on. What is it made of, and why this architectural reference?

RS This series consists in an assemblage of baskets, food storage pots and colanders. Made of ornamented, modern materials, lit from behind, placed on an aluminium pedestal, the utensils create an installation, reminiscent of the dovetailed glass, doors and windows of the religious architecture. The human being has always strived to build temples, churches and mosques in order to feel close to God, and thank him for all the blessings he has given us, including food. In this sense, the comparison is highly symbolic, as the colanders, just like windows that filter sunrays, create a healthy environment and bring purity to one’s life. The aim of this series is to clarify and somewhat criticize the wrong and immoral aspects of our social practices and unveil their religious veneer.

LL What was the source of inspiration in the present work? And is the use of found objects something recurrent in your practice?

RS Since my very first art experience, I pay strong attention to the investigatory part of my practice. I have always believed that art is a substantial part of everyday life practices, and that everyone gets to practice it in a form or another. By using elements from our daily routine, I shape a new language that covers all natural and crafted objects, giving them a new meaning and yet conceptually linked to their primal use. My work conveys a visual script – its letters are made of everyday life items, creating a semantic field that deals with the very reason of our existence and our duties towards the environment and paves the path for a better life practice… By using filters and storage pots.

LL This work seems to draw a lot of its influence from Christian churches and more specifically the windows and arches from those churches? How do you therefore relate your work to Western/European culture?  

RS The designs and patterns that inspired me for this series are widely used in places of worship in the three monotheist religions, but also in other beliefs. All the religions of the Book display very similar teachings regarding human rights, the sacredness of food, etc. The uniqueness of the message, beyond its religion, makes of my work an encounter between East and West.

LL Both humour and uncanniness play a part in most  of the objects you produce, is this a result of the socio-political context in which you operate?

I like my works to be near the viewer, for him to understand it without complication, and that is achieved through humour. The 'humour and uncanniness' aspect of my work comes from my childhood memories. Art has to be playful and colourful for people to grasp the essence of it and interact with it. Yes, sometimes the social context can be challenging, and exploring a playful artistic approach, eases some of that tension with the viewers and myself as an artist.

LL What does it mean to be practising in Saudi Arabia today?

RS My country is changing rapidly and the changes are spreading fast, touching every part of our society – these changes are good for us. When contemporary art first grew in the country few years ago, people viewed it with a mix of fear and reluctance; it was hard at the time to practice my art. Thanks to the support of important patrons, artists from the older generation and a striving art scene, recently an increasing number of spectators are growing their awareness and are ready to engage with the art without any judgment. A lot of those viewers are afraid of my artistic practice, because they don’t try and understand my artistic process. However, I am very confident that things are changing and I can see in the past year a very notable evolution.

LL Jeddah-based emerging artists often describe you as a mentor and social activist, could you please tell us a little bit more about your social role within the emerging Saudi art scene?

RS I have a Master’s Degree in Fine Arts, and I do teach a class to talented students every morning whilst, training and organizing artistic activities in the evening through an art organization based in Jeddah called House of Fine Artists. I became chairman of this young association despite my young age and tried to implement some changes in the teaching and artistic process. The opposition was very strong from different generation of members, and I was forced to abandon my vision - thought too progressive. As a result I decided to create my own institution for young emerging talents, the Tasami for Visual Arts. The institution focuses on fine art courses, workshops and many artistic events around the city.