Faisal Al-Samra speaks in majazz, the Arabic equivalent of “metaphors.” It is also the title of his first exhibition in Saudi Arabia after thirteen years.

‘Majazz’ also marks the first exhibition of a Saudi artist at Ayyam Gallery in Jeddah, which is known mostly for incubating works of artists from the Levant region.

Al-Samra lives and works in Bahrain. He presented his first exhibition in 1987 and is one of the first conceptual Saudi artists dabbling in photography, installation and video.

“Majazz” is a collection of old and new works, the latest being an installation titled “Arab Spring,” which is meant to reflect the recent political upheaval that has ravished the Arab world. It lacked clarity in terms of ideation and artistic relevance that should strive to produce an ‘aha-moment’ in a lazy observer.

However, his older works produced in 2010 titled “Azazeel” (Satan) struck a chord or two of decidedly exciting personal value.

In “Azazeel,” Al-Samra contextualizes himself in the role of the devil creating all obvious references in the artwork by way of using the notorious numerical 666, crimson face, dark attire and subtle representation of the devil’s horns. In the least is the representation jaded or over-done.

“Many artists over time have tried to represent the oldest icons, and this is my projection of the angel and devil. It includes the human as well because both exist in us,” says Al-Samra.

There is indeed a very powerful question raised, which the artist presents by creating a proposition: Is what is perceived by the public through images presented by mass media in the form of icons and idols, an idea of devil or of an angel? Well, that is a question answered best through context.

Then there is the “Distorted Reality” video and a digital photographs series produced in 2011, focusing on what is real and what is indeed ‘perceived’ to be real. News media today sometimes use airbrushed images that do not always represent the true face of an individual. This leads to false hero worship and thereby resulting in a loss of true individuality.

In the three-and-odd minute video installation two juxtaposed images struggle to merge together as one. The person projected in the video is Al-Samra himself (although unrecognizable) as the face is marred by the placement of a magnifying glass that to the lazy eye can be rendered only as a falsetto of glitter. This, when observed from a closer distance, equals to nothing of real significance.

All in this entire exhibition may raise the question if you can pre-meditate a ritual of self-and-outwardly introspection while passing through his works. This in itself could be a metaphor for ‘what really is real?’

The exhibition will continue at Ayyam Gallery until Oct. 31.

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