Filwa Nazer and Pascal Hachem in "7 highlights from this year’s Desert X AlUla"

Rawaa Talass, 24 February 2024


‘Preserving Shadows’ 

The Saudi artist designed an elevated bridge-like installation, topped with high black triangles that are meant to give a sense of “fear and hostility in relation to the nature of the desert,” Nazer explained during a press tour. “There’s an ancient belief, even from before Islam, that there are ‘jinn’ or spirits that reside in the shrubs of the desert. I read an account of two men that were sitting in the desert and they lit a fire in the shrub. Snakes flew out of the shrub and they attacked and killed them. Growing up in ‘previous Saudi’ we heard stories about jinn in this part of the country, and it kind of contributed to the fear of not having accessibility to it.” The work resembles “the body of a petrified skeleton of a snake and it’s meant to feel, as you approach it, like you are walking through a journey of shadows and then you reach the end of the ramp — a metaphor for overcoming a dark journey,” she said. 





The Lebanese duo created this trio of intriguing, circular towers made of orange terracotta pots, which stand tall in Wadi AlFann. Viewers can enter the narrow spaces and look up to admire the precise, repetitive pattern the pots form. The project pays tribute to regional heritage and craftsmanship. “Our art, like a gentle breeze, whispers the importance of respect, nurturing a harmonious relationship between humanity and the natural world,” wrote the artists. According to a statement released by Desert X AlUla, the work is also “a testament to the circular economy. . . Light, air, and frankincense flow through, creating sanctuaries for desert flora and fauna.” 

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