Home Economics brings together the work of Hana Al-Saadi, spanning sculpture, painting, sound, and installation. Conceived as a domestic space, the exhibition fragments its segments and dissects forecasted identities casted within Khaleeji culture. Hana also reflects on the wake of camera-equipped phones and how they altered our privacy and collective consciousness.
An interactive installation, Skin Tiles invites visitors to immerse themselves in Hana’s envisioned abode, with marbled rubber tiles mimicking the texture of her own covered skin. Through works like Dress Code 1-4, she explores the systemisation of representation, devising a unique technique of painting that echoes the very topic.
In the last section of the exhibition, Hana revisits some of her earlier works and childhood memories, as seen in My Best Friend and I, featuring two curtains torn by casts of Hana’s hands with absurdly long bedazzled nails, or But these are Saudi Colours; a cutout reminiscent of her primary school uniform of the same fabric. In Endless Work, Unless the Power is Out, Hana borrows her Converse and revives the memory of her late grandmother by incoporating her sewing machine to operate an installation.
