Qalb Mahmood Works by the Omani artist Abdulaziz Al-Hosni

Abdulaziz Al-Hosni, known as Aziz, is a name that’s sparking conversations—and occasionally controversies—in the Omani contemporary art scene. Originating from Al Khaburah and currently based in Muscat, Al-Hosni is part of a new wave of artists reshaping the nation’s artistic landscape. He moves away from the traditional landscapes and historical motifs that have long been central to the country’s art practices, choosing instead to delve into themes of identity, gender, and love. His Omani roots deeply influence his work, but he’s unafraid to challenge the very traditions that shaped him. “I aim to create a dialogue between the old and the new, to show how tradition shapes us but doesn’t have to define us,” Al-Hosni says. “We can honor the past while still moving forward, and that’s what ‘Qalb Mahood’ is all about. It’s about reconciling those tensions and being brave enough to explore what’s beyond the surface.” This tension between the old and the new, the traditional and the modern, is at the heart of his art, which consistently provokes and inspires in equal measure.

“Qalb-Mahmood,” Al-Hosni’s latest photographic series, is a striking example of this dichotomy. Translating to “Mahmood’s Heart,” as the Arabic name Mahmood means "praised" or "commendable." In the project we are introduced to Mahmood—a name that in Arabic translates to “praised” or “commendable.” In Al-Hosni’s work, Mahmood is a fictional character who embodies the universal struggles of good versus evil, love versus loss, and truth versus deception. Through a mix of intimate and staged scenes, Al-Hosni captures the raw emotions, hidden desires, silent struggles of his participants, all while questioning the rigid constructs of gender and societal norms. “Through my photography, I want to question the roles society imposes on us— particularly when it comes to gender” he explains. “The characters in ‘Qalb Mahmood’ are trapped between their desires and the expectations placed on them. By continuing these rigid constructs, I hope to inspire others to challenge what it means to be masculine or feminine.”

Take, for instance, “3?” in which two men sit in the dimly lit confines of a car, each lost in thought. Dressed in traditional Omani gowns, one man lights a midwakh—a small pipe common in Oman—while the other quietly inhales its smoke. The simple act of smoking is shared in silence, creating a subtle connection between them, evoking a quiet familiarity that feels both personal and unspoken. “The midwakh in this photograph is more than just a mundane cultural object; it represents power, control, and the silent compromise we make in life,” Al-Hosni says. “It’s a symbol of masculinity, but also of the fragility behind the mask. I wanted to show how something as simple as smoking can carry so many layers of meaning.” The midwakh adds a provocative layer to the image, transforming the act of smoking into a metaphor for moral compromise and the seductive pull of sin. The phallic symbolism of the midwakh suggests a grasp for power and control, an assertion of dominance that masks vulnerability and inner conflict. In their silence, the men speak volumes, engaging in an act that is both deeply personal and heavy with societal judgment.

Another striking image is “RAW Emotions,” in which five young men walk in a line through the desert, each dressed in a bold, colorful dishdasha with a matching kuma. The colors—red, pink, green, blue, and yellow—correspond to the letters of Mahmood’s name in Arabic, each symbolizing a different aspect of love’s journey. The repetition of the letter "م" (M) in Mahmood’s name hints at duality, with each instance carrying a different emotional weight. This piece nods to a viral photo from 2010 that depicted men in similarly colorful traditional garb, sparking both amusement and intrigue. Al-Hosni masterfully plays with this ambiguity, leaving us to wonder: Is this a playful subversion of traditional masculinity or a deeper exploration of emotional expression? By stepping away from the standard white dishdasha, the men embrace a spectrum of emotions, with each color marking a different stage in their metaphorical and literal desert journey. “The colors here aren’t decorative. Each shade represents a specific emotion, a phase in Mahmood’s journey,” explains Al-Hosni. “In our culture, there’s a lot left unsaid, but through color, I want to express the range of feelings we experience but rarely show, especially as men.”

Similarly, in “Let It Fly,” we see a striking black-and-white photograph of a young man with curly hair who is depicted submerged in a bathtub filled with water, dressed in his traditional attire. The image is cropped to reveal only part of his face, creating a powerful focal point on his expression. The young man stares directly into the camera, his eyes filled with a haunting sadness, almost screaming for help. His tense body, submerged and confined, seems to grasp for air, suggesting a struggle against overwhelming forces.“The young man is not just physically confined by the water, but emotionally trapped by expectations,” Al-Hosni says. “I wanted the image to capture that feeling of suffocation—the struggle to try to maintain appearances while grappling with overwhelming internal conflict.” The photograph captures a moment of deep reflection, where he appears trapped not just physically but emotionally. The water symbolizes the weight of societal expectations, threatening to drown him as he tries to keep afloat. The use of black and white emphasizes the intensity of his emotions, evoking a sense of nostalgia or a hidden truth. The lack of color strips the image down to its raw essence, where the viewer can feel the suffocating pressure that he faces. The confined space of the bathtub serves as a metaphor for his limited options, as if there is no way out from the burdens he carries. This image encapsulates a powerful tension between vulnerability and resilience, capturing the complex emotions of a young man struggling within the confines of societal norms.

Al-Hosni’s exploration of gender isn’t confined to masculinity alone. In “Girl on Fire,” he shifts his focus to femininity. The image features a young woman in a rebellious pose, standing in a basement-like space adorned with 80s posters, an electric bass, and an amplifier. Dressed in a slitted black dress that reveals her thighs and a belly button piercing, she challenges the viewer with her gaze. A male mannequin, dressed only in underwear and a masar, burns beside her—perhaps a powerful symbol of the destruction of patriarchal norms. Wearing a shirt emblazoned with the phrase, "Hey girl–don’t start the fire so you don’t burn yourself," a reference to a conservative book often found in religious bookshops that offers advice aimed at young women, she subverts the message entirely. The shirt, conceptualized by Al-Hosni as a symbol of reclaiming her power, boldly declares her readiness to ignite and burn through anything in her way. The contrast between the nostalgic decor and her modern rebellion highlights the tension between tradition and progress, making a powerful statement about the necessity of personal liberation.

In “I Love You Mahmood,” Al-Hosni further complicates the narrative. A woman stands at the center of the image, her upper body modestly covered in a hijab with only her eyes visible, while her lower body is dressed in a short black skirt and stilettos. Draped in a “I love you Mahmood” branded blanket, she stands on a yellow heart within a constructed red room, furnished with a pink sofa, blue pillow, and green carpet. The clash of colors and styles embodies the complexity of identity, where tradition and modernity coexist in a delicate balance. The yellow heart beneath her feet, perhaps symbolizing caution or a fragile emotional state, contrasts with the vibrant, almost chaotic surroundings, each color representing a piece of Mahmood’s identity. Here, the woman symbolizes the ongoing struggle between societal expectations and personal expression.

As Al-Hosni’s exploration of gender unfolds, the theme of love emerges as a central force, intertwining with his depictions of identity and emotional expression. “Love, to me, is not just a feeling but a way of understanding ourselves and the world,” he reflects. “It requires vulnerability, and that’s something we often shy away from, especially in our culture. In my photographs, the heart represents the truth—raw, unfiltered, and sometimes painful—but always powerful in its honesty.” For Al-Hosni, love is not just a feeling; it is a truth that demands vulnerability and emotional transparency. The heart, a recurring symbol in many of his photographs, serves as a visual trademark, representing this deep connection to love as an expression of truth. Yet, love is not without its struggles. Al-Hosni’s work often highlights the tension and challenges that come with emotional expression, particularly in a cultural context where such displays are not always encouraged or accepted. For Al-Hosni, it is this struggle that makes love, and the pursuit of it, all the more powerful and transformative.

One of the most poignant pieces in the series is “I Am a Work of Art”. Here, Almas, an Omani online personality often caricatured for his distinctive style and expressive behavior, is depicted in a moment of introspection. Dressed in a red dishdasha and a kuma adorned with broken hearts, Almas gazes away from the camera, his posture conveying strength and defiance. The red of his attire, a color often associated with passion and boldness, contrasts with the delicate symbolism of the broken hearts, reflecting the emotional turmoil he has faced due to societal ridicule. Yet, in Al-Hosni's portrayal, Almas reclaims his image, transforming what others mock into a symbol of resilience. The broken hearts on his kuma suggest that, despite the pain inflicted by societal judgment, he remains unbroken, standing strong in his identity.

In “Qalb-Mahmood,” Al-Hosni challenges traditional markers of masculinity and the rigid gender norms that often define Omani culture. Through his lens, he invites viewers to reconsider the fluidity of identity, offering a more inclusive and dynamic perspective. By celebrating individual freedom and embracing vulnerability, Al-Hosni's work transcends conventional narratives, revealing the complexities of masculinity, identity, and love.