Deeply rooted in the exploration of spirituality, Al Mulhim's work connects geometric forms with the human psyche.
At 37 years old, Riyadh-based Saudi multidisciplinary artist and abstract expressionist Nasser Al-Mulhim is still investigating who he is, what his art represents, and, most importantly, what it means to him and to those who encounter it. For Al-Mulhim, such is the beauty of art: its ephemeral and ever-evolving nature. Over the years, Al-Mulhim has sculpted a signature aesthetic - one that marries geometric shapes with fluid, mercurial representations of the human psyche; a striking and colourful interweaving of the physical and the spiritual, where Al-Mulhim’s muse can be found.
Myriad shapes and colours co-exist on the same canvas; sometimes easy to decipher, oftentimes impossible. Each piece, a dance of abstraction, appears as an invitation to step beyond the surface and into a space where perception is fluid, challenging the viewer to experience it from multiple angles, rather than arrive at a single conclusion. The work is as much about the exploration of meaning as it is about the celebration of uncertainty. Through his work, he channels a multitude of ideas: from the abstract beauty of the Kingdom’s landscapes to the complexities of personal identity within a rapidly changing society. Yet, rather than offering direct answers, his pieces often raise questions, urging the audience to reflect on the tensions between tradition and contemporary life.
Following a brief stint studying engineering, Nasser Al-Mulhim found solace in the world of art, eventually pursuing a Bachelor’s degree in Studio Art from the University of West Florida. It was here that he discovered his true passion and honed his craft, cultivating an appreciation for abstraction and the therapeutic power of creative expression. Since then, his works have been exhibited internationally, with notable shows including Art Dubai (2023), the Noor Riyadh Light Festival (2022), and Tabari Artspace's Shadow Work in Dubai (2022). His art has also been featured in venues such as Hayy Jameel in Jeddah (2021), Hafez Gallery in both Jeddah and London (2021), and the Saudi Art Council’s The Secrets of Alidades (2021).
In an exclusive interview with SceneNowSaudi, the Saudi artist discussed his upbringing in Saudi Arabia, the experience of witnessing his own culture transform into something entirely different from what he grew up in, and the concept of art as "the gate of self-healing."
How did growing up in Riyadh and being raised in a traditional family shape your perspective on art and life?
Al-Mulhim: I come from a tribal family, so traditions were strict. But growing up in Al Malath, with its diversity, shaped me and made me more respectful toward different cultures. I used to play in the streets, always curious and asking questions. It was a beautiful life in a humble neighbourhood. The poetry, the graffiti on the streets, that’s what drew me in. But at 12, I started noticing cultural barriers - like why I couldn’t hang out with my neighbour’s daughter? That cultural conflict really affected me.
As you grow up, you’re forced to choose - stick with the collective or become an outsider. It was tough.
How did you channel that frustration?
Around 15, I started getting into graffiti, hanging out with skateboarders, breakdancers, performers - those communities influenced me. It was a light that made me ask, "What medium can I use to express this?" I started spraying graffiti at 16, experimenting with colours. There were no art classes back then, and if there were, we’d just play football. Art was, in a way, prohibited. It was a tough time psychologically. Graffiti gave me that rebellious spirit, made me want to be seen.
What led you to transition from studying engineering to pursuing fine arts? Was there a defining moment that made you realise you were meant to be an artist?
I initially studied engineering, but in 2013, after spending time with friends who were into certain spiritual rituals and healing; they would always ask me why I do not pursue art, I realised I wasn’t an engineer - I was an artist. It wasn’t easy, but my parents supported my decision. I switched to fine arts.
The switch was liberating. In art school, no one cared about your background. It felt like home. Compared to engineering, where everything is logic-based, art was free. It was where I truly belonged.
You’ve mentioned the influence of spiritual communities on your work. How did your exposure to spirituality shape your artistic style?
Spiritual communities introduced me to the idea of energies and frequencies. I became fascinated by how ancient civilizations used geometric shapes to channel energy - think Egyptians with the pyramids - and I apply that in my work. Geometric forms and colours help me channel that energy from within to the outer world.
You’ve previously spoken about balancing science and spirituality in your work. How do these two areas intersect in your artistic practice?
Certain forms in psychology, if you look into Freud and Carl Jung, have specific meanings. For instance, circles, squares and triangles represent different things. I’m still investigating this, but that’s why I use these shapes. They have a spiritual background, plus I think my studies in engineering have influenced this as well. I’ve studied all the sciences - physics, biology, chemistry - and I’ve taken classes in math. This relationship between science and engineering helped me in fine arts.
Do these shapes have psychological or emotional meanings?
The shapes themselves aren’t entirely spontaneous, but they do come from a place within me that I’m still trying to figure out. They don’t have a specific meaning most of the time. However, a few shapes do, like circles, which represent the sun and the moon. For me, the sun symbolises masculine energy, and the moon represents feminine energy. But beyond that, it’s up to the observer to interpret.
I use happy colours and forms to bring positive energy and healing, and sometimes my titles are playful or questioning. I like leaving things up to the observer to figure out - sometimes the titles might seem funny or strange compared to the paintings, like using a title about pineapples. I enjoy keeping things mysterious, but ultimately, I want the audience to reflect on the work. Does it irritate you? Does it move you? That’s what I’m interested in - personal reactions.
You coined the term "The Gate of Self-Healing." What does this concept mean to you, and how does it relate to your creative process?
The Gate of Self-Healing is about looking within to find your inner light. It’s about loving yourself, so you can love others. Once you know yourself, everything becomes easier and more beautiful around you.
Imagine you have a garden with a door - the gate. This gate is the entrance to your inner journey, a journey to your inner light. Once you protect that gate with positive energy, you begin to know yourself more. The gate of self-healing is about looking within, instead of constantly judging the outer world.
How do you view the societal changes happening in Saudi Arabia, and what role do you think art plays in these transformations?
The reforms were long overdue. Now, we have more freedom, and art plays a key role in this change. Public art is everywhere, and it shows that the government supports artists. This is just the beginning of a beautiful transformation.
I see hope in these reforms, and I hope they spread throughout the region. We learn from each other, and these changes are bringing light to our communities. It’s like we were in the dark before, seeing only shadows, but now we’re stepping into the light.
Art is part of that light, and I feel privileged that our government supports artists. There’s public art everywhere now, and that’s beautiful. It shows care for artists, and I believe this change is only the beginning.
