This project—Immortal Moment 3: Post‑ Creatures 2, to which the Diriyah Contemporary Art Biennale work (2026) belongs—comprises three levels:

First:
The physical body/support of the artwork. It belongs to and returns to my first research project, Al‑Mu‘allaqāt, on the origin of the artwork—materially and conceptually—in the heart of the Arabian Peninsula before Islam, during it, and after it, among people of nomadic (Bedouin) tribes and settled communities. Poetry was the form and the vessel that contained, discussed, expressed, and documented all aspects of these people’s culture and lives. The first material bearer of this poetry was what was called the Mu‘allaqāt: thin pieces of animal skin on which poems by the foremost poets of various tribes and urban groupings in the Arabian Peninsula were written, to be displayed and hung on the walls of the Holy Kaaba at certain times of the year, such as the pilgrimage and the ‘Ukāẓ market. There, they would select the best poetry, and poets would compete in reciting their “hanging” poems; the audience would then choose the very best. Thus, at the root of the matter, the Mu‘allaqāt are the first works of art hung on walls, arising from the very culture, people, and land to which I belong and to which the human being of this civilization belongs—distinct from the body of Western art (the icon and the painting) or that of the Far East (manuscripts and murals). I began researching this project in 1986 and started executing the first Mu‘allaqa in 1987

—my second return to Paris to work after the first phase of study, which ended with my graduation in 1980 and my return to my homeland, Saudi Arabia, where I worked until 1987. In 1989 I held the first solo exhibition for this project in Paris, titled The Act of Nomadism.
This project led to offshoot projects that vary in appearance yet are united in essence, including Other Body, first shown in Jeddah in 2000, from which I will exhibit works—never shown before—during the biennale at Hafez Gallery . The most recent offshoot of this project is the biennale work, Immortal Moment 3.

Second:
The concept of visual content. Its method of realization relies on intervention, dialogue, and improvisation within a defined framework—not on dictating and executing a pre‑formed mental image and rendering it, in full detail, onto the artwork’s support.
On this basis, it is necessary to document the moment of intervention when its first act is carried out and applied to the forming material, provided it is free from the artist’s direct control, with a large margin dependent on remotely guided chance—so as to create an independent and, to some extent, fair dialogue between the artwork and the executor/performer.
As for the direct philosophical dimension of this visual content, it is the documentation of the moment of “now” through its visual equivalent: the point (dot) and the trace of kinetic action upon the forming material. From the accumulations of these two elements—through the improvised/guided dialogue between the performer and the elements of formation within the space of the artwork—emerges the final visual form, which is at the same time unfinished, depending on the performer’s decision to stop the dialogue at a certain moment so that it becomes the Immortal moment that remains as the trace of that dialogue that took place—completed by each viewer of the work, each according to their own vision and angle.

Third:
An analogy with the concept of cosmic creation from a contemporary Islamic scientific perspective of the Big Bang theory of the first matter, created by the command of the Greatest Creator, God—Glorified and Exalted.
The point of analogy comes from casting an element of the forming material (color or charcoal powder) into the space of the artwork, leaving it free to take the shape that the throwing motion intended for it—ultimately dependent on an unseen will connected to the system of the existence of things in this universe, which is connected to the will of the Greatest Creator of the first matter. In the name of God.