An emotional cartography tracing memory, growth, and identity

This early series of drawings, begun in Kuwait in 1991, serves as a deeply personal mapping of Mona’s journey as a young Arab woman navigating culture, emotion, and artistic identity.

Conceptual Framework

• Emotional Mapping in Visual Form: The works act as a cartographic exploration—not of physical spaces, but of emotional landscapes. As defined in artistic and psychogeographic contexts, emotional cartography maps feelings and inner experiences rather than geographic terrain, using symbols, color, and form to represent subjective emotional journeys.

• Mediums & Memory: Through evolving combinations of charcoal, ink, layered pigments, and creative mark‑making, Mona charts the terrain of internal memory—memories encoded in texture, hue, and spatial tension, not narrative depiction.

• Identity and Introspection: These drawings reflect her experiences as an Arab female artist—charting emotional encounters, cultural introspection, and evolving identity. Each piece functions as a point and path within an inward cartography of recollection and self-discovery.

• Gateway to Other Dimensions: The interwoven layers of color and medium serve as emotional signposts, opening portals to imagined spheres and inner landscapes. This work visually navigates the boundaries between past and present, internal states, and cultural presence.

Stages of Love in Black Ink and Line

Black Series examines the evolution of love through minimalist mark-making. With black ink on white paper, Mona navigates emotional thresholds using simple lines that distill experience into visual emotion.

Exhibition Overview

Mona’s first solo show centers on intimacy, perception, and emotional nuance—explored through black ink on white paper. This minimalist aesthetic relies on simple compositional lines to communicate complex inner worlds, reflecting a disciplined yet expressive visual language.

Conceptual Framework

• Emotional Mapping of Love
  The series treats love as a terrain to be explored emotionally, mapping its stages through subtle shifts in line, spacing, and compositional weight. Each drawing becomes an affective landmark, charting the emotional progression of longing, connection, tension, and reflection—echoing principles of emotional cartography, where internal experience serves as landscape.

• Minimal Form, Maximum Depth
  Mona distills love into its essence using restrained visual vocabulary—ink lines, negative space, and simplicity. The absence of color magnifies the subtle emotional cues embedded in gesture and composition.

• Inquiry into Meaning
  Her process is driven by a philosophical and emotional curiosity: What is the experience of love? What makes it meaningful? Working within a limited palette compels deeper engagement with concept, feeling, and existence.

The Unknown Moments That Liberate Our Spirit

Exhibition Overview

Created following her first solo exhibition using white ink on black paper, the Reply Series continues Mona’s commitment to emotional minimalism. This series employs white ink on black paper to explore moments of emotional clarity and relational depth, offering visual sparks that illuminate and liberate the spirit.

Concept & Substance

• Illuminating the Spirit
  The stark contrast between white ink and black ground symbolizes spiritual release: each glowing stroke "replies" to darkness, pointing to moments of awakening and clarity in emotional experience.

• Linear Precision & Thematic Depth
  Mona’s compositions rely on sharp, controlled lines, forming minimalist grids that evoke relational architecture. Despite visual restraint, each piece unfolds emotional depth through subtle variations and tension in space.

• Existential Inquiry through Love
  While intimate in theme, the series prompts a deeper, universal question: how does love shape our inner light? The title Reply becomes a metaphorical echo—an emotional response that carries transformative power.

The Effect of Attachment in Shaping the Soul

This series was developed for Mona’s second solo exhibition, "Letting Go", held at Ahmed Al‑Adwani Hall, Kuwait, from January 15–21, 2023, and serves as an immersive exploration of emotional attachment, self-awareness, and collective empowerment

Exhibition Overview

Using Arabic glue, fiber threads, and ink on sugar paper, Mona creates richly textured pieces designed to visualize how emotional attachment imprints upon the soul—journeys of trauma, relational bonding, and spiritual release are interwoven into material form.

Concept & Substance

• Attachment as Emotional Topography
  Through layered materials, each work charts the soul’s emotional terrain—attachment, separation, longing, and transcendence mapped in tangible form.

• Material Symbolism
  The inclusion of glue and threads operates both literally and metaphorically, denoting human bonds, fragility, and resilience within the layers of sugar paper.

• Textural Depth & Emotional Resonance
  Organic materials evoke traditions of communal craft while embodying personal catharsis. The tactile surfaces serve as narrative punctuation to the act of letting go.

• Theme of Love & Empowerment
  Grounded in the pursuit of self-awareness and the meaning of love, this work encourages women to step beyond comfort zones and embrace identity and connection within their communities.

Through this series, you offer viewers a window into intimate personal and cultural histories, blending the local texture of Kuwait’s late twentieth century with universal themes of youth and memory. The goal is to encourage viewers to savor each piece visually and emotionally, while reflecting on their pasts.

Exhibition Overview

Flavors of Memory: Growing Up in Kuwait

Period: 2007–2008
Venue(s): Multiple venues in Kuwait and select international galleries (Kuwait Arts Association, and others)

Concept & Vision

This exhibition presents a series of paintings in oil pastel, watercolor, and ink on white paper, each distinct in shape and size. Inspired by your upbringing in 1980s Kuwait, the works use a chocolate metaphor—specifically Mackintosh chocolates—to convey the rich variety of adolescent emotions. Each painting corresponds to a different “flavor” of experience: nostalgia, curiosity, joy, and moments of uneasiness.

Artistic Approach

• Palette & Sensory Metaphor: Soft browns, creams, and muted pinks evoke the sensory memory of chocolate flavors from childhood.

• Material & Texture: Oil pastel lends softness, watercolor brings fluidity and spontaneity, and ink delivers depth and contrast—each medium supporting a unique emotional tone.

• Form & Scale: Variable size and form across the body of work mirror the unpredictable nature of memory and experience.

Artist Statement

I grew up in 1980s Kuwait, surrounded by a childhood shaped by vivid memories and chocolate‑inspired tastes—each with its distinct flavor and sensation. In this series, I reflect on That Era Through Paintings Created with Oil Pastel, Watercolor, And Ink On White Paper, Each Piece Featuring Its Unique Shape and size.

Just as a box of Mackintosh chocolates presents a variety of flavors, each artwork explores a different emotional scene from adolescence—nostalgia, joy, unease, and curiosity. I selected a palette influenced by childhood sweet treats—soft browns, creams, muted pinks—infusing each piece with sensory memory while each visual flavor remains unique.

I intend to offer viewers a window into the intimate and bittersweet textures of growing up in Kuwait in the late twentieth century. The diversity of media—oil pastel, watercolor, ink—mirrors the variety of experiences being remembered and re-experienced. I invite viewers to savor each piece like a tasting, to linger on the emotional resonance and recall their pasts.

Medium: Dyed shroud fabric, palm fronds, film, sound
Dimensions: 90 cm × 3 m and 45 cm × 3 m

Exhibition Overview

Energy of Love is a ritual‑like immersive installation that integrates dyed shroud fabric, palm fronds, film, and sound. Rooted in Kuwaiti Bedouin Sadu weaving traditions, the work offers a poignant meditation on mortality, cultural preservation, and spiritual awakening.

Concept & Cultural Context

Al Sadu weaving—a horizontal, geometric textile craft predominantly practiced by Bedouin women of Kuwait and the Gulf—was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2020. This art form, known for its symbolic motifs and dyed wool, embodies identity, tribal affiliations, environment, and protection.

Mona’s piece references these traditions through the use of herb‑dyed shroud fabric suspended from palm fronds—materials that evoke both the organic origins of Sadu and the ritual of mourning. The shroud fabric symbolizes mortality and cultural memory, while the palm fronds gesture toward regional landscape and heritage.

Artistic Intent & Narrative

• Symbolism of Decline and Continuity: Juxtaposing fading shroud fabric with vibrant Sadu motifs, the installation reflects the decline of traditional weaving yet reasserts its value as a cultural emblem.

• Material as Metaphor: The interplay of shroud cloth, dyed fibers, and palm fronds conveys themes of mortality, memory, and tradition. The work becomes a narrative vessel of mourning and renewal.

• Multisensory Resonance: Film and sound deepen the sensory experience, inviting engagement with themes of globalization’s impact, cultural erosion, and spiritual regeneration.

• Spatial & Visual Rhythm: Hanging textiles evoke the rhythmic patterns of weaving and the desert environment—symbolically resonating with camel-driven crafts and the motion of Bedouin life.

An Ethnographic Documentary on Manchester’s Mills, Their Legacy, and Human Stories

Documentary Overview

This film investigates the mills of Ancoats, Manchester’s historic cotton district—once the world’s leading center of industrial textile production—with a focus on the lived experiences of mill workers and the enduring impacts of industrial decline.

Historical & Cultural Context

Ancoats, often referred to as the first industrial suburb, was home to monumental cotton mills like Murray’s Mills, Royal Mill, and Beehive Mill that defined the city’s identity as “Cottonopolis” during the 19th century. The documentary situates personal narratives within this dramatic industrial rise and decline, illuminating workers' connections to the mills and their social heritage.

Concept & Thematic Focus

• Ethnographic Storytelling
  The film blends observational and narrative-driven styles to capture the ongoing legacies—economic, emotional, and cultural—of former textile workers in Manchester’s mill neighborhoods.

• Personal Struggles & Collective Memory
  Embedded within the narrative are the human stories of displacement, adaptation, and resilience—framing industrial decline as both a structural and personal journey.

• Temporal Layers of Place
  Echoing traditions of sensory ethnography and visual anthropology, the documentary maps industrial structures and spoken memories into a layered portrait of Manchester’s working‑class communities and their transitions over time

An Ethnographic Documentary on Female Athletes in the UAE

Documentary Overview

Fortitude chronicles the daily lives of two Emirati female athletes—Sumaya, an Olympic air and sport pistol shooter, and Siham, an Olympic-level paraplegic track and field athlete. The film explores their struggles as they pursue athletic careers in a society where female sporting is often marginalised, highlighting their resilience and determination to overcome cultural constraints.

Concept & Themes

• Ethnographic Lens on Gender and Sport: The documentary foregrounds interpersonal narratives within broader social and cultural pressures—focusing on women navigating athletic ambition, societal norms, and adaptive identity in the UAE.

• Agency and Resilience: Both women, coming from distinctly different athletic realms, embody strength and perseverance—challenging misconceptions about gender roles in Gulf societies.

• Intersection of Culture and Sport: Fortitude situates themes of empowerment, tradition, and transformation within modern Gulf contexts where women increasingly redefine their public and athletic presence.

An Art Film Exploring Women's Life Cycles Through Cultural Symbolism

Synopsis

The Rhumb Line, created in 2013, is a 20-minute philosophical art film directed by Mona Al‑Qanai. It uses the symbolic form of the circle—rooted in traditional crafts and cultural motifs—to trace the experiences and struggles of Kuwaiti women from birth through adulthood. The film likens the life process of women to the creation of circular forms in craft: each stage mirrors the transformation of raw material into a functional object.

Conceptual Framework & Themes

• Circle as Life Metaphor
  The circle symbolizes completeness, continuity, and stages of transformation. In The Rhumb Line, this geometric form mirrors women’s paths through cultural, emotional, and societal phases.

• Craft as Narrative Device
  By drawing on the mechanics of traditional craft production—where raw materials undergo shaping before becoming usable—Mona allegorizes the process of womanhood and identity formation in Kuwaiti society.

• Visual Anthropology in Motion
  The film’s structure reflects Mona’s background in visual anthropology: observing cultural artifacts, interpreting gendered life cycles, and expressing them through visual metaphor.