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<channel>
	<title>mashael alsaie</title>
	<link>https://mashael.cargo.site</link>
	<description>mashael alsaie</description>
	<pubDate>Sun, 14 Jun 2026 12:35:36 +0000</pubDate>
	<generator>https://mashael.cargo.site</generator>
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	<item>
		<title>For Safiya</title>
				
		<link>https://mashael.cargo.site/For-Safiya</link>

		<pubDate>Sun, 14 Jun 2026 12:35:36 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/For-Safiya</guid>

		<description>
	Installation view “For Safiya 1-7”, Flame and Steel Pigment on Silk, Steel Frame, 2025
In this work I return to an image of my late grandaunt on the day of her first marriage, a ceremony staged on the rooftop of her family home where she and her two sisters were wed, in parallel, to three brothers. The union did not endure, yet she remains to me an emblem of aspirational matrimony, a figure who upheld the communal scripts of her time and gave quiet form to the adage حلاة الثوب رقعته منه وفيه, that the beauty of a garment lies in mending it from itself. Drawing from this photograph, I extract fragments and translate them onto silk that echoes the texture of her wedding dress. These patches are printed in steel pigment, a material language I return to often as I negotiate soft and hard, yielding and unyielding, within my broader practice. The resulting assemblage performs a gesture of repair that is neither restorative nor nostalgic, but rather attentive to the complex architectures of kinship, duty, and desire that scaffold the institution of marriage. By isolating and reconstituting these visual remnants, the work becomes a contemplation on inherited ideals and the fissures that underlie them. It lingers on the tension between the communal expectations that shape women’s lives and the quiet resilience with which they navigate their unravelings. In this act of repatching, mending from within, the piece proposes marriage not as a singular event but as a fabric continually altered, stressed, and remade through the hands of those who inhabit it.







	
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	</item>
		
		
	<item>
		<title>Gentle Porosities</title>
				
		<link>https://mashael.cargo.site/Gentle-Porosities</link>

		<pubDate>Tue, 25 Mar 2025 19:28:15 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Gentle-Porosities</guid>

		<description>
	Exhibition View, Gentle Porosities, 2024
Kuwait City, KuwaitHunna Art Gallery



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	<item>
		<title>Rio Sangre</title>
				
		<link>https://mashael.cargo.site/Rio-Sangre</link>

		<pubDate>Fri, 26 Sep 2025 12:46:41 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Rio-Sangre</guid>

		<description>
	Bleeding River, 2025
WIP





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</description>
		
	</item>
		
		
	<item>
		<title>Sublime </title>
				
		<link>https://mashael.cargo.site/Sublime</link>

		<pubDate>Fri, 26 Sep 2025 12:34:17 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Sublime</guid>

		<description>
	MISK Art Residency&#38;nbsp;

WIP



	
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</description>
		
	</item>
		
		
	<item>
		<title>Barren Spring II</title>
				
		<link>https://mashael.cargo.site/Barren-Spring-II</link>

		<pubDate>Sun, 25 Feb 2024 13:55:50 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Barren-Spring-II</guid>

		<description>
	Barren Spring II , 2024
Frankincense infused glass sculptures in Abandoned Pool.&#38;nbsp;

Commissioned by KBH.G




	
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</description>
		
	</item>
		
		
	<item>
		<title>Sea of Tears</title>
				
		<link>https://mashael.cargo.site/Sea-of-Tears</link>

		<pubDate>Sun, 25 Feb 2024 14:41:11 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Sea-of-Tears</guid>

		<description>
	Sea of Tears, 2023
40 Frankincense infused glass sculptures, 2 Channel Video, Sound

Commissioned by Noor Riyadh 2023





	
&#60;img width="1600" height="1066" width_o="1600" height_o="1066" data-src="https://freight.cargo.site/t/original/i/fa2308b83868a7d0554006ae92aef25145ba8eb1f4d0d3a9d224b43e5c2f9f2e/Sea-of-Tears-2023.jpg" data-mid="205418169" border="0"  src="https://freight.cargo.site/w/1000/i/fa2308b83868a7d0554006ae92aef25145ba8eb1f4d0d3a9d224b43e5c2f9f2e/Sea-of-Tears-2023.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Barren Spring</title>
				
		<link>https://mashael.cargo.site/Barren-Spring</link>

		<pubDate>Thu, 01 Jun 2023 00:07:26 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Barren-Spring</guid>

		<description>
	Barren Spring, 2023

Installation, audio, frankincense infused glass sculptures, dye sublimation on fabric.

Commissioned by KBH.G
Barren Spring is a multimedia installation that uses glass sculptures, and photographic prints to investigate the folklore of Ain Adhari, a desolate natural spring in Bahrain, through the lens of mythology, eco-feminism, and oral histories. Although dried out since the 1980s, Ain Adhari remains imprinted in the collective memory of those who witnessed it at its most fertile. Having heard stories of the spring without personally experiencing its vitality, I draw upon my own imagination to recreate the site as an anthropomorphized female body. While there are a multitude of stories about the site, I was most drawn to one in particular: The Myth of the Maiden of Adhari. This cautionary myth recalls the plight of a young maiden who is menacingly approached by a strange man in a palm tree grove, and consequently wails in fear until her gushing tears are metamorphosed into an eternal, mythical spring. 

Barren Spring reimagines the metaphysical transformation of Adhari from the virgin’s physical body and into a body of water as a three-part narrative, composed of sculptural glass tears and photographs printed on silk polyester fabric. The 13-frankincense enclosed glass sculptures, a metaphor for the maiden’s tears. The sculptures are arranged at different heights throughout the space to orient viewers towards a suspended, transcendental moment in time that foreshadows the alchemy of tears transforming into an oasis. As the viewer weaves through the glass sculptures, they are haunted by the silence and loss that remains of the present day spring, until finally arriving at a suspended photographic print of my imagined take on the mythical site.



	
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	<item>
		<title>Submerged</title>
				
		<link>https://mashael.cargo.site/Submerged</link>

		<pubDate>Tue, 25 Apr 2023 18:59:47 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Submerged</guid>

		<description>
	Submerged, 2023

Archival Inkjet Print on 44x24 inch




	
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	<item>
		<title>Adhari Mythopoeia</title>
				
		<link>https://mashael.cargo.site/Adhari-Mythopoeia</link>

		<pubDate>Fri, 03 Feb 2023 18:14:23 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Adhari-Mythopoeia</guid>

		<description>
	Adhari Mythopoeia, 2022

Serigraphy Print on 50x66 cm Paper

Adhari Mythopoeia is a serigraphic photography series that investigates Ain Adhari, as a site of overlapping mythologies. Adhari, a natural spring in Bahrain, is a landmark freshwater spring in Bahrain that has dried up since the 1980s yet remains imprinted in the collective memory of those who witnessed it at its most fertile. This site carries a lineage of associations with different folktales, historical accounts, and ecological intervention or lack thereof - leading to its continued significance and sentimentality in Bahrain. 

Alsaie recalls hearing about the mystical oasis through her grandmother, however, without having experienced it in its vitality, she draws on different accounts and her own imagination to recreate the site as a fictionalized entity. The work contemplates the mythological curiosity of the site, particularly its alchemic properties that have been linked to several folktales. Alsaie uses the serigraphy method to transform the photographs into a series of manual utterances, an attempt to capture the hearsay of the folktale itself. Treading fiction and reality, satire and artifact, mythology and memory, the photographs invite a critical lens to popularized Bahraini folklore and the legacy of Adhari as a now non-existent/ defunct site. 


	
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		<title>Channel 18</title>
				
		<link>https://mashael.cargo.site/Channel-18</link>

		<pubDate>Tue, 05 Apr 2022 23:12:13 +0000</pubDate>

		<dc:creator>mashael alsaie</dc:creator>

		<guid isPermaLink="true">https://mashael.cargo.site/Channel-18</guid>

		<description>
	Channel 18

Channel 18 is an ongoing research project that explores the aesthetics of memory, its preservation, and its afterlife. Having learned that a portion of the 1976-1977 Bahrain Television Archives was burned in the 90s, I began an intensive exploration that questioned the sociopolitical timelines and creative possibilities offered by this absence. In 2021, via the support of Salama Art Foundation Residency in Abuhdabi, I produced a multimedia, site-specific installation presented as an abandoned national television control room that includes; video, sound, photography, collage, and text. I interject elements of fiction through staging the immersive environment as an experiential artifact and repurposing audio-visual documents to be examined with scrutiny. 
Installation, Collage, Photo, Video Projection
2021-2022, Abudhabi, UAE

With support from SEAF Residency

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