I was honored to be invited to be a juror for an art competition in Saudi Arabia. The assafeer art competition is an exhibition of artists from all over Saudi Arabia. I apologize for the poor quality of some of the photos.

Assafeer Art Competition 2009 General Report from the Jury: The number of artworks we required to judge was a great surprise. The amount will have consisted of close to 1000 paintings, collages, mixed media works, some drawings, with each work we tried to give it time and consideration in keeping with our deep respect for the artists and their commitment to enter this competition. Though we as a jury have never met before, we agreed on a systematic procedure for selecting artworks which took the better part of four days. We methodically looked at and discussed each individual work. It was valuable that the three of us have very different backgrounds and interests, which made our discussions sincere and balanced. Though no jury will ever be able to establish a one and only truth which will hold up to any scrutiny, based on our experiences of looking at (international) art, we always found a consensus to back up our decisions. The closer we got to selecting the winning artworks and the first 3 prizes, the more discussion was required. Because of our three different preferences, this involved a process of adding and removing works and re-shifting our perspectives. This also forced each of us to argue precisely why we preferred a particular work and on occasion to research the context and history of the artists. The final selection involved 3 winning works, and 14 works which we wanted to credit as being special; these decisions were based on real and open-minded discussions between the three of us. Though it was no easy process, we seriously believe we followed the right selection procedure to choose the best works, though we acknowledge that a different jury may have chosen differently. On top of the prizewinning artworks, we advised the Ministry of Foreign Affairs to include some 60 works for the (rest of the) exhibition, to which the Ministry has added some of their own selected works. We were deeply impressed by the qualitative variety of subjects and artistic expressions exemplified by the Saudi artists in this competition. Quite interestingly, we noticed many artist are searching for a genuine way of expressing their selves by exploring Saudi culture in the modern world. This is clearly a different "self-searching" than in western countries, as it should be. As such, having the honor of judging this competition is both a process of searching for various artistic qualities as well as a process of learning for ourselves what artists in the Kingdom of Saudi Arabia are interested to express. It is very clear that one cannot pin point a kind of artistic expression that would be typical for the Kingdom of Saudi Arabia alone, which is no criticism but a compliment and a natural result of Saudi artists being part of the modern (global) world. Still, it is also clear that there are distinct and impressive artists in the Kingdom of Saudi Arabia who have already found their idiosyncratic artistic expression. We believe that our 3 winners in particular, and also the other 14 prizewinners, are important examples of this phenomenon, of which the Saudi (art) community and government should be proud. The Jury would like to thank the Ministry of Foreign Affairs and especially HRH Prince Mohammed bin Saud bin Khalid Al Saud and Ahmed .... for inviting us to Riyadh for this prestigious undertaking and to Abdulrahman Alolyan for being a fantastic host and excellent project manager. We have all hugely enjoyed this experience, both personally and professionally and very much hope to continue to contribute to and support the artistic community of Saudi Arabia in the future. the jury: Sean Connaughty, artist, art professor/teacher USA Fré Ilgen, artist, theorist, curator, Netherlands + Berlin-Germany Stephen Stapleton, director OffScreen Education Programme, curator, teacher, London, UK

"ayat" in the Surat al-Fatiha, and refers to the number of circumambulations (Tawaf) made around the Ka'aba, or the amount of heavens and the number of the amount of doors to hell. In other cultures "7" refers to Godliness in things or to other divine aspects. The solid forms of the artwork by Jassim seem to be dissolved by the Arab calligraphic and ornamental decorations. It is typical of artwork in which one cannot actually see or "read" any recognizable meaning, while one definitely senses that this artwork by Jassim has meaning - a meaning we may sense in our subconsciousness. The universal meaning of "7" affords this artwork a connection to many (other) cultures in the world. His impeccable craft and presentation combined with his excellent concept make for a powerful piece. The jury wishes to congratulate Zaman M.Jassim for this wonderful work and gladly grant him the first prize!


2. Ola A.Hugazi This painting by Ola A.Hugazi is a painting with a very strong almost flag like composition containing a square shape filled with hand painted calligraphic notations in a subdued way, allowing the calligraphic forms to be partially absorbed into the background. The background covering most of the painting shows vertical, short, and painterly soft stripes, which are hardly visible as stripes. This blurred vertical structure is the perfect backdrop for the strong calligraphic forms that are painted in a dashing and daring motion of the arm of the artist over the whole canvas. The result is a multi-layered, multi-colored jewel of flying calligraphy which captures the gaze of any viewer and holds it long. The jury also wishes to congratulate Ola A.Hugazi with this strong and very successful artwork, which definitely can be exhibited anywhere in the world, and is honored to grant her the second prize!


3. Ahmed M.Al Khazmari This painting, or better "assemblage" consists of an exceptional successful expression of the (Saudi) landscape in which a small mirror plays an important role in attracting the focus of the viewer, comparable to how something glittering far away in the real landscape can. Besides, the use of mirrors in handcraft objects is an old tradition in the Middle East and as such an interesting reference. The composition shows that the artist is in full control of the means he uses to enthrall the viewer. Khazmari understands exceptionally well to combine the contrast between the slashed paint and carved lines in the painting with the finely positioned and precisely painted little geometric forms. This contrast between forms and bodily expressions make the work to vibrate with an inner power. The jury congratulates Ahmed M.Al Khazmari with this strong landscape, we would like to express our personal opinion on this; a real Saudi landscape in current times (no nostalgic landscape) and are pleased to grant him the third prize!


4. Ahmed Abdulrahman Al Hifthi This painting on paper was skillfully made using a confident and fluid technique. The composition is reminiscent of Oriental silk painting. Formally, this is an overall composition reminiscent of Jackson Pollock or Mark Tobey, but the imagery is unique and well done. Paper is a suitable medium for this work. We are pleased to grant him the fourth prize!


5. Mohammed Abdul Al Ghamdi This assemblage, made from found objects is a sophisticated arrangement of apparently discarded materials creating a dynamic visual experience. The artist clearly has a great deal of facility and familiarity using these materials. Weathered objects from the local environment are revitalized in this skillful composition. We are pleased to award Mohammed Abdul Al Ghamdi the fifth prize!



6. Yousef A. Jaha This artist is clearly an experienced painter with a well developed sense of color and composition. The painting has a consistent color tonality. The colors are related and have subtle repetitions creating a pronounced harmony. The artist shows restraint by limiting the use of pure color and employs neutrals to his advantage. The brush work is well considered and also lends to the quiet harmony of the painting. Each mark is carefully placed but retains a great deal of vitality and confidence. The combination of landscape format and figurative reference speaks of man's relationship to his surroundings. We would like to congratulate Yousef A. Jaha for receiving the sixth prize!


7. Eman M.Habib We noticed in Eman H.Habib's work some features which could be genuinely idiosyncratic to Saudi culture. Not only the material she chooses, desert sand also her formal language seems inspired directly by a life with the desert, while one can also associate the curved forms with a remnant of calligraphic symbols. The little charcoal circles provide a clever added visual value. This is a work one will not find in any other country, which we understand as a compliment.


8. Abdulwahab Y.Otaif In contrast to Habib, this small painting is not something we would automatically associate to Saudi culture, but assume it can definitely be, at a deeper level, because it has some visual ingredients of Arab culture (the boat, the eye, the geometry). The reason why this painting attracted our attention is that Otaif succeeded in creating a painting floating between abstraction and a kind of mystical figuration, making it one of the most contemporary in the competition. It is easily accessible. Intriguing in that one can not deduce out what is going on exactly. We liked it at first glance.


9. Mohammed Ahmed Al Saleem This artist shows excellent representational skills and a powerful ability to use narrative. The imagery is concise but remains mysterious. The viewer must interpret this combination of visual elements, a man walking away from a broken school desk. It raises many questions and is open enough to allow the viewer a place in the narrative. We would like to congratulate Mohammed Ahmed Al Saleem for receiving the ninth prize!


10. Awatif A.Al Malki Malki successfully has painted the traditional Saudi theme with running horses completely immersed in a full abstract form and colour language causing the whole painting to vibrate like the air can vibrate in the heat of the desert. The horses and their environment all are dissolved into one whole. The choice to use a composition consisting of a background with vertical wide stripes in contrast to the small, circular, painted forms in front, strengthens the sense of motion in the air. A painting in which one keeps finding new details, the longer one looks.


11. Abdulsatar A.Al Mosa Mosa's painting might seem European Expressionistic in style, but if, it is so extremely well done within this type of painting that one can only keep starting in full admiration for its expressiveness. The subject is of course typical Saudi. The little brighter white spot in the tree is nothing less than a touch of genius. The jury likes to honour an artist of this generation of Saudi painters who is that much gifted with painting pur sang!


12. Yousef A.Ibrahim This work is the most powerful and sculptural calligraphic painting we have seen in this competition. The technique of scraping away the calligraphic forms may not be an innovation, but Ibrahim clearly controls this way of painting to a such a level that he can freely play with light and darkness and full swinging motions without falling into a trap of any kind of formalism. Ibrahim knows how to suggest meaning more by suggesting calligraphy and hardly by actual (readable) calligraphy painting is indeed about the complex sculptural dynamics of natures forces in timeless space. It's universal beauty will speak to many viewers.


13. Mohammed F Ali Ali's relatively large painting stands out in this competition as a work which involves traditional Saudi themes like traditional houses and calligraphy, while the choice of colors, blurred architectural forms and well located small orange calligraphy are quite exceptional. The addition of a group of numbers provide a little Pop Art or advertisement (commercial graphic design) touch, bringing the theme and work itself into modern times.

14. Waleed A.Al Heesni Heesni provides us with a calligraphy that instantaneously speaks positively to the viewer. It is a painting by a clearly well experienced calligrapher, who knows to combine the beauty of handwritten text in juxtaposition to an almost landscape kind of soft coloured background. The deep black calligraphic writing is effectively positioned on the top right of the painting allowing a strong association with the thin leaves and branches of a bush or small tree which hangs over into the painting. The white calligraphy in the centre adds a mysterious element to the whole and avoids being merely two-dimensional.


15. Ibrahim Al Naither This painting is whimsical and dreamlike, with an excellent and expressive use of color. The artist employs a good balance between intense or pure color and employs neutrals to create a sense of space. The bright color and good drawing skills combine with a stylized approach to create a light and humorous painting. We would like to congratulate Ibrahim Al Naither for winning the fifteenth prize!




16. Ayed B. Al Otaibi This painting was chosen for the adventurous boldness of it's narrative. A narrative with a strong emotional component. Technically, the painter is still developing, but this is an original piece by an artist with the kind of potential it is good to encourage. would like to congratulate Ayed Al Otaibi for winning the sixteenth prize.



Abdullah A. Al Sheikh This great artist is honored as the senior artist of this competition but could just as well be honoured for the vigour and strength with which he has made both the large scrolls in combination with his inner quietness that his works advocate. The handling of the crayons and colours exemplify an inner power and complete control over his craft, which one can only admire and be jealous of. The subjects in his work are often, these scrolls, about positioning art closer to man in the everyday world, contrasted against the danger of dehumanization in modern times.

(unfortunately I was unable to get a photo of this piece...)