Abduallah Al Othman: Structural Syntax: Curated by Irina Stark

For nearly a decade, Abdullah Al Othman (b. 1985, KSA) has cultivated a unique visual language rooted in the Arabian urban landscapes, architecture, and linguistic history. His monumental installations and sculptures archive and reinterpret the evolving symbolism and narratives that shape his environment. He often roams his native Riyadh, collecting imagery and ephemera that chronicle its unceasing transformation. As he states, "Every corner has its own handmade and craft details, every street has its own story that was told without words, but with visual and architectural symbols." In his work, Al Othman reflects on these stories, tracing the layers of history embedded in the urban fabric.

Structural Syntax, which marks Al Othman’s first solo show in the UAE, transforms the gallery into an immersive space akin to his environment, offering a window into the fleeting nostalgia and vanishing collective history that fascinate him and define his artistic expression.

Al Othman, known for his ability to blend experimental aesthetics with rich cultural narratives, continues to push the boundaries of art through his exploration of form, texture, light, and semantics. As he often reflects, "Architectural and linguistic identity has always been a source of inspiration and a special passion for me. It is not just a reflection of a place but a living image of people’s history, interactions, dreams, memories, and obsessions." Each piece in Structural Syntax uses visual "language" to deconstruct traditional systems of meaning, offering works that challenge perceptions of the way we interact with the built environment, culture, and the spaces we inhabit.

Untitled (Al Maktoum) pays tribute to Dubai Creek's iconic Al Maktoum Bridge, which opened in 1963 and remains a vital landmark to this day. Its construction is regarded as one of the earliest symbols of Sheikh Rashid Al Maktoum’s visionary plans to shape Dubai into a forward-thinking metropolis. Here, Al Othman deftly explores how infrastructure can become symbolic of a city’s evolving identity.

Similarly, the striking metal panneau, crafted from neon tubes, Untitled (Light and Language), evokes the dynamic speed and rhythmic pulse of the city, capturing the essence of relentless energy and the constant evolution of re-imagined cities of the Arabian Peninsula, such as Riyadh. "Language, it is said, encodes and transmits human experience across generations, allowing individuals, communities, and cultures to share narratives, traditions, and histories." Al Othman successfully synthesizes the complex language of a bustling metropolis, distilling it into its simplest and purest form, reflecting both the past and future in a dynamic light.

The minimalist, clean lines of Untitled (Shape) evoke the historic neighborhood of Diriyah in Riyadh’s old town. This sculptural work brings to mind Rem Koolhaas’s famous quote, “Architecture is not about form and function, it’s about the space in between.” Al Othman brilliantly captures that precious "in-between moment," celebrating the simplicity and functionality of Najdi architecture. The piece encourages reflection on how spaces and architectural language evolve, highlighting how elements that may seem mundane at first glance are imbued with deeper meaning when considered through the lens of culture and history.

These compositions explore the "syntax" of the works, showing how each element, whether organic or rigid, plays a role in creating a harmonious or discordant whole. As Al Othman often remarks, "Language works in architecture. As metaphors, metaphors move between horizons." The works weave together language, space, and identity, exploring how the urban landscape itself conveys meaning through its structure and symbols.

Elsewhere in the space, Al Othman presents a series of mixed-media wall sculptures made from industrial elements, metal, neon, recycled shop signs, and reclaimed wood, blurring the boundaries between the organic and the constructed. One of the works prominently displays a sign reading "Drink Coca-Cola" in Arabic, alluding to a recognizable symbol of modern, consumer-driven society. Another sculpture reads “Art Plumbing” in Arabic, highlighting the quirky ways in which a city brands and reinvents itself. Al Othman shares the story of a small plumbing shop owner who created a unique way of expressing his passion for his trade. "Cities, it seems, always find their own special way of telling stories." Untitled (Best) sums up such stories, blending urban construction materials and flashy neon signs, which punctuate every modern metropolis.

Al Othman’s work reflects his broader interest in the relationship between language and form, exploring how visual elements can act as a mean of communication, transcending the limits of spoken or written words. As part of this exhibition, he encourages the audience to decode the language of structure, inviting to engage with each piece as both an intellectual and emotional experience.