Daniah Alsaleh, a Saudi visual artist, is known for her deep exploration of social conditioning and memory. With her intricate, multimedia works, she has secured prestigious awards, including the 2019 Ithra Art Prize. However, despite her success, it took Alsaleh years to find the confidence to exhibit her art to the public, much of which was inspired by Islamic geometry at the time.
“I was interested in art from a young age, but I never really had the opportunity,” Alsaleh explains, reflecting on her early years in Riyadh. It wasn’t until she relocated to Jeddah and trained under artist Safeya Binzagr that her passion for art truly blossomed. After several years of training, traveling, and studying Islamic geometry, she found herself ready to showcase her work. By 2012, she participated in her first group exhibition, which marked the beginning of her career as a professional artist.
In 2014, Alsaleh made the decision to move to London and pursue further studies. Despite not being accepted into her desired Master’s program in Fine Art, she was offered a place in a Computational Arts program, which profoundly shifted her artistic direction. “I’m not an AI artist. I’m a visual artist,” she clarifies, emphasizing her approach to machine learning as one of many tools she uses, alongside traditional media.
Exploring Themes of Social Conditioning and Memory
Alsaleh’s work often delves into themes of social conditioning and the influence of media on memory. “I’m interested in social conditioning in the everyday—things we take for granted,” she says. This interest is evident in her work, which examines how media reshapes memories and the role of collective versus individual memory in society.
One of her early pieces, Restitution (2017), reflects these themes. The artwork features meticulously drawn Islamic patterns, interrupted by a bold, random brushstroke. “We can celebrate and appreciate history and tradition, but, at the same time, we really need to be open to change,” she explains.
Her later works, such as Sawtam—the winner of the 2019 Ithra Art Prize—and That Which Remains from the inaugural Diriyah Biennale, continue this exploration. The latter addresses the tension between collective and individual memory in a rapidly changing Saudi Arabia.
Machine Learning and New Forms of Expression
Alsaleh’s journey into computational arts and machine learning has brought a new dimension to her work. She applies these techniques to create installations like Evanesce, which uses deep fake technology to recreate scenes from Egyptian cinema’s Golden Age. This piece, like many of her others, critiques how media, even in conservative societies, shapes collective memories.
Her residency in AlUla in 2022 inspired the creation of Hinat, an installation that merges traditional landscapes with futuristic, machine-generated figures. By blending ancient and modern elements, Alsaleh draws attention to the evolving nature of culture and identity.
Alsaleh continues to challenge the boundaries of artistic expression, as seen in works like E Proxy, where she critiques the widespread use of emojis in modern communication, and The Gathering, which portrays the emotional experiences of women living in Riyadh.
“I’m asking what is happening here: Is it conditioning us into being less expressive? Or are we conditioning it to be a tool to help us express ourselves?” she questions, inviting viewers to reflect on the duality of tradition and innovation.
With a career built on a foundation of tradition and an openness to contemporary techniques, Alsaleh embodies the idea that change is not only inevitable but essential. Her works serve as a reminder that while we can honor the past, embracing the future is equally important
