The Gulf art scene has expanded, but indigenous narratives remain sidelined. Adding to this is the fundamental issue of not being recognized as Indigenous people, leaving Gulf artists excluded from global Indigenous discourses. Existing frameworks like those designed for Indigenous peoples in other parts of the world fail to address the unique complexities of Gulf identities. My work prioritizes these stories, integrating oral histories into contemporary art to preserve the past and inspire the future. However, gaps in research remain due to the diverse voices and tribal fragmentation in the Gulf's small communities. To fill these gaps, I use dreams my own and those shared by others as evidence of hidden narratives. Dreams act as true recollections, uncovering stories that would otherwise remain untold. They deserve deeper exploration as carriers of hidden truths, offering insights into personal and collective narratives that conventional research may overlook.
The Gulf art scene has expanded, but indigenous narratives remain sidelined. Adding to this is the fundamental issue of not being recognized as Indigenous people, leaving Gulf artists excluded from global Indigenous discourses. Existing frameworks like those designed for Indigenous peoples in other parts of the world fail to address the unique complexities of Gulf identities. My work prioritizes these stories, integrating oral histories into contemporary art to preserve the past and inspire the future.
The Gulf art scene has expanded, but indigenous narratives remain sidelined. Existing frameworks like those designed for Indigenous peoples in other parts of the world often fail to address the unique complexities of Gulf identities. My work prioritizes these stories, integrating oral histories into contemporary art to preserve the past and inspire the future.

The abaya and thobe are more than clothing; they are cultural artifacts. Unlike the veil, which is frequently depicted and discussed in art, the abaya and thobe remain underrepresented. This is partly due to their association with a perceived lack of dialogue and their sacredness, which creates resistance to engaging with these garments meaningfully. While some artists have approached the abaya by altering its integrity, turning it into kimono style or kaftan like designs; this often strays from its essence. My work seeks to retain the core identity of these garments while revolutionizing their narrative, using them to connect heritage with evolving identities and stories. There is a fear and resistance to working with these garments as they symbolize a deeper cultural tension, but I aim to challenge and transform this perspective.
The abaya and thobe are more than clothing; they are cultural artifacts. My work repurposes them as canvases to connect heritage with evolving identities and stories.

The younger generation often feels caught between traditional expectations and their own diverse ideals. My work seeks to make them feel worthy of using tradition as a tool for expression, rather than seeing it as something to erase. Resistance to their diversity is a lost opportunity to bridge generational gaps. Instead of blaming them, we must create spaces that allow for dialogue, understanding, and storytelling that connects both past and future.

Recent discussions on slavery have begun to shed light on the region’s historical relationship with the global Black diaspora. However, these conversations remain fragmented. Curators who focus on Black narratives globally often overlook Gulf artists because their stories don’t fit established frameworks. My work bridges this gap, linking Gulf histories of slavery with broader movements for justice and recognition, fostering connections between Black communities in the Gulf and global Black narratives.

Civil society in the Gulf lacks independent spaces for dialogue and creativity, independent galleries with autonomy on what they choose to showcase. Art must take on this role, fostering community-driven solutions and open conversations.

Institutional constraints limit artistic expression. Gulf artists must embrace bold, authentic work that bridges generational divides and reflects the region’s rapid transformation. Not mistaken westernisation of art and mediums as a true liberation in artistic expression, but a smokescreen to the hidden obstacles, making it ever more harder to validate the constraints amongst each other and the western world.

Systemic barriers have silenced diverse narratives. the art in Oud Abaya creates a tiny puncture for these voices, ensuring they shape the cultural conversation.

The contemporary art world is overly focused on consumerism, often sidelining discussions about Indigenous recognition and cultural identity. In the Gulf, we face the additional challenge of not being classified as Indigenous, which excludes us from global discourses. This lack of recognition is tied to wealth, as poverty is often used as a marker for Indigenous status globally. This framework ignores the unique cultural and historical complexities of Gulf communities. My work critiques these narratives, exploring how traditional practices and materials, like the oud and abaya, are commercialized or dismissed. The burning abaya symbolizes resilience and liberation, addressing identity and mortality while reclaiming Indigenous perspectives within a consumer-driven context.
Consumerism in the Gulf reflects rapid modernization but often sidelines Indigenous values and narratives. My work critiques this disconnect, exploring how traditional practices and materials, like the oud and abaya, are commercialized or dismissed. The burning abaya symbolizes resilience and liberation, addressing identity and mortality while reclaiming Indigenous perspectives within a consumer-driven context.

Curators detached from Gulf narratives perpetuate sanitized stories. By excluding Gulf artists from global Black narratives, they limit the potential for a richer, interconnected cultural discourse. My work challenges this exclusion, demanding inclusive curation that represents the full spectrum of experiences.

Cultural heritage and environmental sustainability are rarely addressed together in Gulf art. By using materials like oud, I emphasize their deep connection and the need for balance between tradition and ecological awareness.

Art is a tool for questioning, connecting, and transforming. The mission is to use it to reclaim identity, amplify diversity, and provoke meaningful dialogue. A call for dialogue is imposed from the outside, lets make it from the inside, the fear of provocation ought to outweigh the benefits of open dialogue from within, we may be surprised as how empathetic we are from the inside than the outside in the way we ask for change, it ought to be viewed in a beautiful light than a sinister one, because we are grateful from how far we have come, and asking of responsible change can potentially be met with much more sympathetic requests than those from the outside in. Our community has been through trauma, only 2-3 generations ago, so let’s be mindful about making judgements on how those who ask for change are going about it.