Jowhara AlSaud treats photographs as a singular perspective of a split second in time, entirely subjective and hence impressionable. By etching these drawings back into film and printing them in a traditional darkroom, Al Saud seeks to demonstrate the photograph’s malleability as a medium, well before digital manipulation became so advanced and accessible.
Prevalent in AlSaud’s work is the language of the censor. Line drawings on the photograph omit faces and skin, keeping only the essentials while preserving the anonymity of the photograph’s subjects. Such an approach allows her the freedom to circumvent, and comment on, some of the cultural taboos associated with photography. Namely the stigma attached to bringing the “personal portrait”, commonly reserved for the private domestic space, into a public sphere.