Sami Al Turki
Hammer, 2013
Fine art print on archival paper
50 x 50 cm
From Barzakh series, Edition of 8
SAT0350
Sami Al Turki
Hammer, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8, Acquired by Greenbox Museum, Amsterdam
SAT0351
Sami Al Turki
Gouge, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0343
Sami Al Turki
Gimlet, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0335
Sami Al Turki
Drawing Knife, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0327
Sami Al Turki
Diamond Grit Sharpening Plate, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0319
Sami Al Turki
Mitre Box, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0359
Sami Al Turki
Saw, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0375
Sami Al Turki
Screw Driver, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0383
Sami Al Turki
Spirit Level, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0391
Sami Al Turki
Counter Strike, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0311
Sami Al Turki
Ruler, 2012
Fine art print on archival paper
140 x 200 cm (55 1/8 x 78 3/4 in.)
From Barzakh series, Edition of 3 + 2 AP
SAT0240
Sami Al Turki
Albany-Home, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5, Acquired by Greenbox Museum, Amsterdam
SAT0399
Sami Al Turki
Albany-Housing I, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0404
Sami Al Turki
Albany-Shop, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0409
Sami Al Turki
Jeddah-Housing IV, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0439
Sami Al Turki
Jeddah-Housing III, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0434
Sami Al Turki
Jeddah-Housing II, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0429
Sami Al Turki
Jeddah-Housing I, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0424
Sami Al Turki
Catanzaro -Storage, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0419
Sami Al Turki
Albany-Warehouse, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0414
Sami Al Turki
Tahlia-Commercial Center, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0280
Sami Al Turki
Chatem-Barn, 2013
Fine art print on archival paper mounted on 4mm dibond
121 x 131 cm (47 5/8 x 51 5/8 in.)
From Barzakh series, Edition of 5, Acquired by Greenbox Museum, Amsterdam
SAT0479
Sami Al Turki
OMI-Home, 2013
Fine art print on archival paper mounted on 4mm dibond
121 x 131 cm (47 5/8 x 51 5/8 in.)
From Barzakh series, Edition of 5
SAT0474
Sami Al Turki
OMI-Barn, 2013
Fine art print on archival paper mounted on 4mm dibond
121 x 131 cm (47 5/8 x 51 5/8 in.)
From Barzakh series, Edition of 5
SAT0469
Sami Al Turki
Ubhur-Store Front I, 2013
Lambda print mounted on aluminium with box frame
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0270
Sami Al Turki
Ubhur-Store Front II, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5
SAT0300
Sami Al Turki
Ubhur-Home, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5
SAT0250
Sami Al Turki
Ubhur-Hospital, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5
SAT0255
Sami Al Turki
Ubhur-District, 2013
Framed lambda print on archival paper
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0252
Sami Al Turki
Al-Mahamadiya-Home, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 2 AP
SAT0285
Sami Al Turki
Ubhur-Al Firdaous Flats, 2013
Lambda print mounted on aluminium with box frame
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 2 AP
SAT0295
Sami Al Turki
Nets, 2012
Lambda print mounted on Aluminum with perspex lamination
118 x 180 cm (46 1/2 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0241
Sami Al Turki
Albany-Insurance, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0449
Sami Al Turki
Albany-Housing II, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0444
Sami Al Turki
Jeddah-Commercial Center, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0454
Sami Al Turki
Jeddah-Hospital, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0459
Sami Al Turki
Jeddah-Housing V, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5, Acquired by Greenbox Museum, Amsterdam
SAT0464
Sami Al Turki
Hammer, 2013
Fine art print on archival paper
50 x 50 cm
From Barzakh series, Edition of 8
SAT0350
Sami Al Turki
Hammer, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8, Acquired by Greenbox Museum, Amsterdam
SAT0351
Sami Al Turki
Gouge, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0343
Sami Al Turki
Gimlet, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0335
Sami Al Turki
Drawing Knife, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0327
Sami Al Turki
Diamond Grit Sharpening Plate, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0319
Sami Al Turki
Mitre Box, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0359
Sami Al Turki
Saw, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0375
Sami Al Turki
Screw Driver, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0383
Sami Al Turki
Spirit Level, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
SAT0391
Sami Al Turki
Counter Strike, 2013
Fine art print on archival paper
50 x 50 cm (19 5/8 x 19 5/8 in.)
From Barzakh series, Edition of 8
SAT0311
Sami Al Turki
Ruler, 2012
Fine art print on archival paper
140 x 200 cm (55 1/8 x 78 3/4 in.)
From Barzakh series, Edition of 3 + 2 AP
SAT0240
Sami Al Turki
Albany-Home, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5, Acquired by Greenbox Museum, Amsterdam
SAT0399
Sami Al Turki
Albany-Housing I, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0404
Sami Al Turki
Albany-Shop, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0409
Sami Al Turki
Jeddah-Housing IV, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0439
Sami Al Turki
Jeddah-Housing III, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0434
Sami Al Turki
Jeddah-Housing II, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0429
Sami Al Turki
Jeddah-Housing I, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0424
Sami Al Turki
Catanzaro -Storage, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0419
Sami Al Turki
Albany-Warehouse, 2013
Fine art print on archival paper
80 x 80 cm (31 1/2 x 31 1/2 in.)
From Barzakh series, Edition of 5
SAT0414
Sami Al Turki
Tahlia-Commercial Center, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0280
Sami Al Turki
Chatem-Barn, 2013
Fine art print on archival paper mounted on 4mm dibond
121 x 131 cm (47 5/8 x 51 5/8 in.)
From Barzakh series, Edition of 5, Acquired by Greenbox Museum, Amsterdam
SAT0479
Sami Al Turki
OMI-Home, 2013
Fine art print on archival paper mounted on 4mm dibond
121 x 131 cm (47 5/8 x 51 5/8 in.)
From Barzakh series, Edition of 5
SAT0474
Sami Al Turki
OMI-Barn, 2013
Fine art print on archival paper mounted on 4mm dibond
121 x 131 cm (47 5/8 x 51 5/8 in.)
From Barzakh series, Edition of 5
SAT0469
Sami Al Turki
Ubhur-Store Front I, 2013
Lambda print mounted on aluminium with box frame
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0270
Sami Al Turki
Ubhur-Store Front II, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5
SAT0300
Sami Al Turki
Ubhur-Home, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5
SAT0250
Sami Al Turki
Ubhur-Hospital, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5
SAT0255
Sami Al Turki
Ubhur-District, 2013
Framed lambda print on archival paper
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0252
Sami Al Turki
Al-Mahamadiya-Home, 2013
Fine art print on archival paper mounted on 4mm dibond
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 2 AP
SAT0285
Sami Al Turki
Ubhur-Al Firdaous Flats, 2013
Lambda print mounted on aluminium with box frame
120 x 180 cm (47 1/4 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 2 AP
SAT0295
Sami Al Turki
Nets, 2012
Lambda print mounted on Aluminum with perspex lamination
118 x 180 cm (46 1/2 x 70 7/8 in.)
From Barzakh series, Edition of 5 + 1 AP
SAT0241
Sami Al Turki
Albany-Insurance, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0449
Sami Al Turki
Albany-Housing II, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0444
Sami Al Turki
Jeddah-Commercial Center, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0454
Sami Al Turki
Jeddah-Hospital, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5
SAT0459
Sami Al Turki
Jeddah-Housing V, 2013
Fine art print on archival paper
80 x 120 cm (31 1/2 x 47 1/4 in.)
From Barzakh series, Edition of 5, Acquired by Greenbox Museum, Amsterdam
SAT0464
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
When seeing these lasting unfinished constructions, one cannot help but think that there is a monetary problem within the city, a recession of sorts, a problem in the form of a disobedient nature, corruption and dishonesties that question morals. The city must be going through or has been for some time, a kind of collapse, in order to build such buildings and leave them either incomplete or semi abandoned for a prolonged periods.
So how do structures like these, stand and until when? What must be the financials of the peoples involved to allow this to happen on a recurring basis? When will reestablish a rational reasonable system that would allow all these concerns to operate in a better form? Yet it is difficult to raise such questions without consequences, which could endorse self-inflecting wounds per say.
The series is inspired by the artist's quest to find a home for himself in his own country.
After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.
During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty lands. This tradition of building your dream home continues to this day and the cities are littered with houses from every style of architecture imaginable, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy. With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.
Hoping to follow in his father's footsteps, the artist returned home hoping to purchase a plot of land in order to build the dream house, but found that many things had changed since his father's time. While land remains plentiful, it has become almost entirely inaccessible. Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime, empty and unused land that only the wealthy can afford.
In 'Barzakh', an Arabic word that alludes a state of in-between, a neither here not there, the artist depicts unfinished architectural structures that are suspended amidst clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of an entire generations’. While appearing as a fanciful gesture, the work is also a stark depiction of mankind's capacity for greed, as the artist suggests… If it were possible to own the sky and build walls declaring that ownership, mankind would.
Be removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that all our earthly wealth and possessions, are ultimately left behind as we pass away, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country. After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.
During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy. With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.
Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one. Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country. After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.
During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy. With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.
Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one. Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country. After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.
During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy. With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.
Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one. Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.
In 'Barzakh', an Arabic word that alludes to a state of in-between, a neither here not there, or even purgatory, the artist depicts unfinished architectural structures that are suspended amidst the clouds or surrounded by an alien land; an homage to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fanciful gesture, the work can also be seen as a stark depiction of mankind's capacity for greed, as the artist suggests that if it were possible to own the sky, and to build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
Saudi artist Sami Al-Turki presents for the first time, works from his latest photographic series Barzakh', inspired by the artist's quest to find a home for himself in his own country.
After having lived and studied abroad for a number of years, the artist made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.
During the main move from nomadic living to urbanisation during the 70's, an entire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, there are houses that look like the White House, others that look like a palace from the Arabian Nights, and even one that looks like a space ship, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy. With very little public life or outdoor activity, the majority of your life will be spent within those walls. Your home is your castle, of which you are king, and the ultimate shelter and protection that you can provide your family.
Hoping to follow in his father's footsteps, the artist returned hoping to purchase a plot of land in order to build just such a dream house, but found that many things had changed since his father's time. While land remains a plentiful commodity, it has become an almost entirely inaccessible one. Anywhere else in the world, land is acquired for the purposes of development. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is sky-rocketing prices and a substantial amount of prime empty and unused land that only the very rich can afford, as well as a rising housing crisis.
A quest to find a home in one’s native land and the need for that home, is the theme addressed in the series of works by Saudi Sami Al Turki. From There, To Here, & Inevitably Into Eternity, the title of his first solo exhibition in Jeddah, Saudi Arabia, reflects the continuous, indispensable and inescapably never-ending search for a dream.
Born in 1984, to a Saudi father and an Irish mother, Sami Al Turki was raised in Jeddah before moving to the United Arab Emirates for his studies at the American University in Dubai. The focus of his work is his own impressions, reflections and thoughts of his generation's struggle to grasp and live by contemporary values versus revered traditions.
The inspiration comes from Al Turki’s personal experiences and contemplations on where he comes from, and where he thinks we, as a civilization, might be headed towards. After having lived and studied abroad for a number of years, the young artist recently made the decision to return and settle in his hometown, Jeddah, “I wanted to finally settle, have my own home and studio and a permanent place rather than something transitional,” he confesses. During the main move from nomadic living to urbanisation in the country in the 1970s, an entire generation of people in the vast desert country built their homes on empty lands. This tradition of building one’s dream home continues to this day and major cities are littered with houses of different styles of architecture imaginable both finished and unfinished, all testament to a land where your home constitutes your ultimate goal, and the realisation of your fantasy.
As Al Turki returned to purchase a plot of land, he found that many things had changed since his father's time, across just one generation. While land remains plentiful, it is now an almost entirely inaccessible one for most people. In Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit. The result is a substantial amount of prime, empty and unused land that only the wealthy can afford, “prices are astronomical for a barren stretch of land,” said Al Turki, “what angers me is that there are vast amounts of empty lands, and you cannot buy any part of them unless you get knee-deep into debt.”
Thus the artist uses this theme and depicts unfinished architectural structures that are suspended amidst the clouds; an homage to a dream that is drifting farther and farther, not just out of his reach, but of an entire generation and also an entire class of people. While appearing as a fanciful gesture, the work is also a stark depiction of mankind's capacity for greed, as the artist suggests… If it were possible to own the sky and build walls declaring that ownership, mankind would.
Furthermore, by removing these structures from their usual context and placing them in the heavens, the artist is using the unlikelihood of the image to remind us that all our earthly wealth and possessions, are ultimately left behind as we pass away, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.