Sheikh Rashid Al Khalifa during the 2019 exhibition opening "In Parallel" at Bait Muzna Gallery in Muscat, Oman

As part of Mid East Art’s ‘Art & Tech’ series covering topics related to the pixelated world we find ourselves in today, I had an interview with Bahraini artist Sheikh Rashid bin Khalifa on his recent work in the quarantine and his early embrace of virtual art display on Google Arts & Culture.

Adapting to alternative artistic styles and evolving since early on in his arts practice, Sheikh Rashid has been a pivotal figure in the arts scene within the Gulf as well as internationally. A member of the Bahraini royal family, he is the first president and current honorary president of the Bahrain Arts Society, established in 1983 (just two years after the Emirates Fine Art Society in the UAE).

Evolving from styles of Realism, Impressionism and more recently in Abstract and Color Field,, his work has significantly transformed as he constantly exhausts himself in alternative modes of experimentation within design and architectural spheres. His earlier oil paintings are met with his later aluminum and steel installations that explore the relationships between shadows and light—whether capturing the natural light of his country in the desert landscapes or articulating the glimmers of the room itself through his installation works.

Initially receiving a scholarship to the UK to eventually enroll in the Police Academy in Bahrain, Sheikh Rashid eventually changed his plans and enrolled at Hasting College in 1972 to study art and design. His first exhibition in 1969 was at the Gulf Hotel in Bahrain and his other earlier shows across the Gulf later expanded throughout Europe and Asia— in solo and group exhibitions and biennales, from Cairo to Moscow to Venice.

"Penumbra: Textured Shadow, Coloured Light" by Rashid Al Khalifa on (digital) view at Google Arts & Culture. Image courtesy of the artist.

In parallel to his art development, Sheikh Rashid has embraced digital technology early on. He has been showcasing his work and various exhibitions on Google Arts & Culture, allowing the chance to view his artworks on the interactive online platform and making his work accessible to a wider audience, in its virtual display and informative aspects.

I had first met Sheikh Rashid at the inaugural Royal Bridges exhibition in Dubai back in 2016; Christie’s eventually auctioned the works displayed, donating all of the proceeds to the World Food Program. Royal Bridges was founded by Sheikh Rashid as a way to highlight artist members of royal families from around the world.

This initial meeting with him prompted an adventure trip to Bahrain during the Nest Festival hosted by Al Riwaq Art Space later that year as I explored further his art practice and the pioneer artistic scene of the country, with many conversations with Yasmin Sharabi, curator and consultant. This early connection opened up a window into many destination trips visiting his significant international exhibitions —to Saatchi Gallery in 2018 and most recently in the Moscow Biennale in 2019. Getting lost within his mashrabiya works that are deeply inspired by the Bahrain urban landscape, I found myself on a trip uncovering the light and shadow of my surroundings between the Gulf and European countries.

Mid East Art speaks with Sheikh Rashid on his ability to adopt technology early on and his recent work in the quarantine.

MEA: How many times have you displayed your work on Google Arts & Culture? How did you have the foresight to embrace this platform, did you initially hesitate to do so given so few galleries, foundations, museums had done this before?

RBK: I’ve displayed my work on Google Arts & Culture on three different occasions. The first was for ‘Penumbra’ a solo exhibition of my work held at the Saatchi Gallery, London in 2018 and the second was for ‘In Parallel’ at the Bait Muzna Gallery, Muscat, Oman (2019). The most recent was for ‘Transverse Wave’ held at the me Collectors Room/ Olbricht Foundation, Berlin which opened in November 2019. In fact, I’ve always felt that online presence is extremely beneficial to my work with regard to exposure, as I feel I am able to reach a wider, international audience.

MEA: Do you find using this digital display/ virtual viewing rooms enhances the appreciation and analysis of your work? Not only for the viewer, but for your own artistic perspective?

RBK: For someone who hasn’t seen my work in person, I don’t think that a virtual viewing room or digital display would enhance their experience and I would much prefer that someone sees it in reality as the essence of my work is about the experience of light, colour and perspective. Nothing can replace the real experience or the feeling one has when walking through my immersive maze, for example. However, having said that, as artists we must take advantage of the tools that we are offered and to be considerate of our role during the current global crisis. It is important to be present and that means being very aware of the time that we are living in. Although nothing beats the real experience, that is not always possible, and in this way, if properly displayed and presented online, people have the option to to gain some sense of what I am trying to achieve.

MEA: Along with this digital display, is it opening new ideas into further online exhibition collaborations in the future with artists around the world now?

RBK: Since Transverse Wave, I have been interested in collaborating with sound and light artists- artists that utilize different tools to create a sensory experience. So yes, it has inspired me to think of ways in which I could create a different kind of sensory experience that people could access online from their homes, by incorporating ‘digital’ mediums.

3D shaped sculpture "Blue Parametric 2018" by Rashid Al Khalifa RASHID AL KHALIFA — 3D shaped sculpture "Blue Parametric 2018" by Rashid Al Khalifa
RASHID AL KHALIFA

MEA: Now that this exhibition can reach a wider, more diverse audience online, have you received responses from new audiences, new viewers?

RBK: I think that people are only just allowing themselves to become more acquainted with digital platforms like Google Arts & Culture as a way in which to gain an ‘art experience’. Perhaps this is because we are accepting that this new way of operating may be around for a period of time. Before this global crisis, we utilised online arts tools for the larger part, to disseminate information with regards to the arts and preferred the ‘real’ tangible experience of visiting a museum of exhibition. Now, we are learning that finding new ways of accessing information is a necessity- yet this is quite a recent realisation. So I have yet to receive more responses from new audiences and viewers- but time will tell.

MEA: How important is using digital technology when producing your sculptural works? Given their highly advanced production process. Do you produce many prototypes? Are sketches an important part of the work production?

RBK: There are times when I work with a designer to assist me with certain aspects of my work, as far as layouts for exhibitions- especially if there is an architectural component. However, most of the time, what is interesting about my work, is that it develops from my sketches and drawings. I am and will always be a painter and so I prefer to begin with that sentiment in mind in the initial stages of conceptualizing. I then create a prototype and rework that until I am happy with its structure and design. To me, what is fascinating and characteristic of my recent work, is that they appear mechanical and digitalized, so to speak, but in fact, they always develop out of an emotive state. In many ways, I deconstruct that feeling, and reconstruct a form that is more tangible and definitive.

Abstract Figurative III, oil on canvas, 1989.. Image courtesy of the artist.

MEA: If there is a more digital, machine production to the works, in what ways do you use your ‘hands’ - in photography, flipping through old archives, in paintings still?

RBK: It is also worth noting that at times, I happen upon an old artwork, it could have been a painting from years ago, and that sometimes inspires me to create a new work- a recreation of a similar sentiment with new materials.

MEA: Was ‘Transverse Wave’ one of the first group exhibitions with non-Middle Eastern artists? How was this experience working with the curators, and seeing your works alongside two German artists - has it opened up new ideas in cross-regional shows in the future for you?

RBK: I have worked with other international artists in the past- for example, in 2015, I exhibited with the artist Ernesto Liccardo at NOMI, at the Venice Biennale. I’ve also participated in various group exhibitions with other international artists. However, ‘Transverse Wave’ was quite different to any other exhibitions I have worked on in the past and has inspired me to continue to work with sensory artists, particularly sound artists. It was interesting to see how the structure and design of my work inspired the composition of Simon Stockhausen and to see the way each of the curators interpreted and differentiated my work to that of artist Mary Bauermeister. Mary and I come from very different backgrounds and at first glance, our artwork is so contradictory. And yet, as presented, there is a commonality that exists between our creative work as demonstrated through the composition of Simon. It was as if the sound was the medium for discourse of culture and so much was said without saying a word. One just had to listen. I am also so grateful that I was able to exhibit in Berlin and at such an important space with regard to the Berlin art scene. We had such a positive response from the Berlin art community with some very positive critical reviews. I definitely see myself exhibiting there again in the future. Possibly in a more ‘experimental’ sense.

me Collectors Room, Berlin. Image courtesy of the institution.

MEA: What was the main impetus to transforming from traditional paint to the ‘Convex’ works?

RBK: It was in the 90’s that I simply wanted to combine my love of design with painting and to employ a structure that could, at least in my view, offer a more engaging surface for both myself and for the viewer. I initially experimented with a prism formation, but I felt that there was something about the curvature of the convex that had a more inviting nature. It seemed more fluid, more graceful and flexible- as compared to the rigidity of the traditional flat canvas.

MEA: What was a turning point in your artistic career?

RBK: It is too difficult for me to mention just one. Because I think my artistic career is constantly changing and shifting with the times. In the late ‘80’s I began to move away from landscape painting and focused more of my attention on figurative work. In the ‘90’s my style of painting changed quite dramatically to something much more patterned and abstract. In the early 2000’s, I shifted my attention again, towards the formation of the convex canvas and to further abstracting the forms on its surface. And again, in the late 2000’s I began to experiment with totally different materials as my work developed a much more minimalistic style. I see all of these moments as important turning points that were affected and influenced by currents in my life. It will be interesting to see what arises during this time.

MEA: A turning point exhibition?

RBK: As far as exhibitions, I would say that my exhibition at the Bahrain National Museum in 2010, Convex a New Perspective, was definitely a turning point. To start, it was my first retrospective-style exhibition at a national museum. Secondly, it received a lot of international attention and the opening was a huge success- not only was it an important exhibition for me, but it was important for the country as a number of notable artworld personalities visited from abroad and we had a full program of events for them so that they could fully experience Bahrain. It also presented a turning point in my artistic career, showcasing publicly for the first time, the transition of my work towards a convex canvas. Many people, in Bahrain and abroad, had not seen that style of work before.

Metamorphosis IV, oil on canvas, 1997. Image courtesy of the artist.

MEA: You founded the Bahrain Art Society in 1982 which has been a strong foundation for the local art community. In brief, how would you describe the beginnings? The challenges you faced in cultivating an interested creative community at the time. The collective of artists that grew out of this, etc.

RBK: There was a great amount of enthusiasm amongst Bahraini artists at the time that the Arts Society was founded. Many had just returned from their studies abroad, offering their newfound knowledge and experience to us as a collective. We were keen to develop and exhibit our work and the Arts Society offered a platform in which to do so. As far as the economy, Bahrain had emerged as the Banking Centre of the Middle East and this also contributed to this newfound fervour. We had also long been viewed internationally as the cultural capital of the Gulf, recognized for our rich history and love and appreciation for the arts. I think this also helped boost our self-esteem. There were challenges, of course, as there always are when you have groups of creatives together, and yet, we had a good network of individuals that were excited about the new chapter we were about to embark on. We were eager to exhibit abroad and represent Bahrain in different countries. It offered an opportunity to expose our liberal nature as a society.

Abdul Raheem (left) with HH Sheikh Rashid bin Khalifa Al Khalifa (center) during UAE Art Week at Bahrain Art Society Center, approximately 1984-85. Photo courtesy of Emirates Fine Art Society.

MEA: Do you have artist role models/inspirations from the Arab world and also the West?

RBK: There are a number of international artists that have inspired me throughout my life and for different reasons. Sometimes I’m inspired by an artist’s level of skill and mastery of materials. Other times, I admire the ability of an artist to express an issue or emotion of complexity with such clarity. I am also fortunate and privileged, that many of the artists that I admire, the pioneers of Modern Middle Eastern Art, are also friends of mine. Dia Azzawi, Farouk Hosny, Ahmed Nawar and the late Adam Henein, are examples of artists that not only created work that demonstrated their brilliance, they also challenged the conventions of a time and in turn opened doors for the future generations of artists. They led by example.

Barastis by Bahrain Fort, oil on canvas, 1969. Image courtesy of the artist.

MEA: How much is design and architecture incorporated into your work now? Was it always something you were interested in since the beginning of your career?

RBK: My recent work is extremely influenced by design and architecture and yes, it was always something that interested me. In fact, I initially wanted to study architecture in university but what was on offer to me at that time was only art and design. The nature of my daily work involves reviewing architectural drawings and various elements of design for a number of projects. This definitely impacts my artistic work. I think if you look back on my artistic career you will see elements of design throughout.

Sheikh Rashid’s wall painting at 14 years old. Courtesy of the artist.

MEA: Do you review old archives of Bahrain’s architecture for inspiration to your work?

RBK: I wouldn’t say I spend a lot of time reviewing old archives of Bahrain’s architecture as it is something that I am quite acquainted with- I suppose you could say that it is etched into my visual memory. The building that currently houses my private collection in Riffa, is actually built on the foundation of my childhood home, which was a traditional Bahraini house. When renovating, I ensured that aspects of the original features were rightfully preserved and this building, is one of many that provides me with daily inspiration.

"Mashrabiya" installation by Rashid Al Khalifa at Saatchi Gallery in London. RASHID AL KHALIFA / SAATCHI GALLERY LONDON

MEA: Walking through the ‘Mashrabiya’ work - does it remind you of a child, of older memories? I have fond memories of ‘getting lost’ within its mazes in both London and Moscow..

RBK: The layout of the Maze was inspired by my memories of the traditional alleyways in Bahrain and their meandering nature. The grid-like structure, was, as you mention, inspired by the Mashrabiya, or lattice work on the traditional oriel windows that overlook the alleyways. I wanted to capture the sentiment of walking through those streets, where the visuals that one experiences are so affected by the elements- the sunlight, the surrounding buildings and the shadows cast…whereby every corner you turn, you’re faced with a completely different view that can be so beautifully disorienting.

MEA: How important is lighting in your exhibition displays?

RBK: Well, I believe that proper lighting is vital to any exhibition. But with regard to my most recent work, it is a necessity that allows the work to become its truest form. I see it as a medium in the same way as I see paint. My most recent work, the Parametrics, come to life with proper lighting and it is only then that you experience them in their totality.

MEA: What are you currently working on during the quarantine, how has this time affected your thought, creative processes?

RBK: Actually, I have been working on a few different pieces- I’ve been finishing paintings as well as sketching and working on prototypes for a few new installations. What I’ve found is that much of the work I’ve created during this time is somehow self-reflective. I’ve had a lot of time to think and ponder and Im certain that this manifests in my work.

Embracing the Virtual Display: An Interview with Bahraini artist Sheikh Rashid bin Khalifa

Mid East Art speaks with Sheikh Rashid on his ability to adopt technology early on and his recent work in the quarantine.