Saudi artist Aseel Al-Yaagoub is one of those artists whose colours, characters, and scenes stay with you quietly, long after you have seen them.

She grew up in a family where art wasn’t treated as a hobby, but as a shared language. Creativity ran through the household — from a mother who creates through embroidery and stitching, to relatives who draw and paint — and Aseel was encouraged from an early age to see herself as an artist.

You have most likely come across her work before: "A Night of Joy", a series of six paintings capturing wedding celebrations in the Eastern Region; portraits of people with vibrant faces and equally expressive noses. And yes — noses deserve a separate mention. They play an important role in Aseel’s practice. Why? What do they represent? How did her journey as an artist begin, how did her work transform over time, and why does she choose to portray people the way she does?

We asked Aseel all of this — and more.

— Aseel, there is not much information about you available online, so I would love to hear more about your background. What kind of family did you grow up in?

— I have loved drawing and art since early childhood, and I grew up in a family that deeply values and appreciates art. Creativity, in many ways, runs in our family. My mother, for instance, is an artist in her own unique way — she doesn’t paint; instead, she creates her artworks through embroidery and stitching. Many of my aunts are also artists, and when I was around nine years old, I attended drawing courses taught by one of them. My sisters used to draw as well, though they didn’t pursue it professionally. Art — especially drawing — has always been a shared language in our family, extending beyond my immediate household to many of my relatives.

My father has always been an art lover and a true art appreciator. He enjoys collecting distinctive artworks from time to time, and I grew up seeing how seriously he valued art in general and my work in particular. One of my most cherished memories is from when I was a child — he would take my drawings to a framing shop, have them professionally framed, and hang them around the house. That meant the world to me; it made me feel seen as an artist from a very young age.

There is one moment I will never forget. I was about nine years old when my father told us one day that we were all going to an art exhibition. Visiting galleries and art events was already a regular part of our family life. But when we arrived, I was shocked to see my own artworks displayed on the very first wall at the entrance of the exhibition. My father had secretly submitted my work to the exhibition and surprised me. There was even media coverage that day, and I remember standing beside my paintings, explaining their meanings to visitors. That experience played a huge role in building my confidence—learning how to talk about my work and engage with an audience.

Both my parents have had an enormous influence on shaping my personality and developing my artistic skills. From a very young age, they made sure I attended workshops, exhibitions, and cultural events, and they always encouraged me to interact with people and speak openly about my art.

— You even dedicated an artwork to your closest ones and called it “Family”. Why did you choose to depict your family in this particular way?

— This artwork is very close to my heart. Despite its visual simplicity, the meaning behind it is deeply emotional, which is why it resonated so strongly with the audience. The piece portrays my parents, but through my own artistic lens. What makes it special is that I wanted both of them to physically leave their mark on the artwork.

My mother embroidered part of the piece herself — a hanging textile featuring three hearts, symbolising love, warmth, and intimacy within our family. It represents the emotional environment my parents created for us at home. Additionally, the shemagh used in the male figure is an actual fragment of my father’s shemagh.

This work touches me differently from my other pieces, and it clearly resonated with the audience as well because of the story behind it. Through this artwork, I realised that the success of an artwork does not lie solely in technique or detail. A large part of art is emotion — and when those emotions are honest and visible, they can truly move people.

— How did your artistic journey begin?

— I was born loving art. From the moment I learned how to hold a pencil, I began expressing my emotions through drawing. My parents noticed this early on and did everything they could to support and encourage me. Throughout my childhood, I was constantly drawing, and once I entered school, my teachers recognised my talent as well. I regularly participated in art competitions and was often asked to create artworks related to school activities. Everyone around me knew my work and supported my talent.

After graduating from school, my love for art remained strong. When it came time to choose a university major, I initially considered fields completely unrelated to art, such as law and criminal law. At one point, I was even drawn to psychology. Eventually, I realised that I simply couldn’t imagine my life without art. While I have interests in many areas, I have always wanted to be an artist.

I went on to study Visual Arts, specialising in Printmaking. My university years were among the most beautiful periods of my life, and I received tremendous support from my professors and peers. During that time, I was highly focused on building my name in the art scene, working on my own artistic practice while also taking on commissioned work in illustration and design.

I graduated from Princess Nourah bint Abdulrahman University with a bachelor’s degree in Visual Arts, specialising in Printmaking. Shortly after graduation, I entered the creative industry professionally as a graphic designer, and I continue to grow in this field while exploring my artistic identity and building my name.

— You once said: “The most distinctive feature of my characters is their noses... I believe noses, in their various shapes, are unique and beautiful, which is why I enjoy highlighting them in my portraits.” This might be a slightly silly question, but I am genuinely curious: do you remember a specific nose that really stood out to you and that you ended up depicting? Maybe a moment from your own life?

— Interestingly, the nose that inspired me the most was my own. What I have never really shared before is how this focus began. During my teenage years, face filters — especially on Snapchat — became extremely popular. Many of these filters altered facial features, particularly by making noses smaller, alongside smoothing skin or enlarging eyes.

I started comparing how people looked with filters versus in real life, and I did the same for myself — looking at filtered images and then at my reflection in the mirror. I noticed that these filters made faces look strangely similar, especially because of the reduced nose size. That is when I realised how defining and unique noses truly are.

Over time, I recognised that my nose suited my face and gave it character. I began drawing characters with noses similar to mine — and I still do. Eventually, the nose became a defining feature in all my characters. Each one has a uniquely shaped, coloured nose, reinforcing individuality and difference.

— One of your projects, A Night of Joy, is a series of six paintings capturing celebrations in the Eastern Region. You mentioned that this project is very dear to you because it reflects childhood memories that still resonate with you today. Which memories in particular inspired this series?

— From a young age, I attended countless gatherings and celebrations with my mother, ranging from very simple occasions to large events. In the Eastern Region, we have deeply rooted traditions, and as I grew older and spoke about them with others, I realised that many people were unfamiliar with these traditions. This motivated me to document and preserve them visually.

Celebrations and joy are universal themes that resonate with everyone, and they naturally invite curiosity. I chose to focus specifically on wedding celebrations because of their cultural importance and the richness of their details. Weddings are filled with layered traditions, rituals, and visual elements, making them a powerful subject for storytelling. This series is ongoing, as I continue to depict detailed and immersive scenes from this heritage.

— How would you describe the overall mood of this body of work?

— This project is deeply personal, as it reflects scenes from both my childhood and present life within my community and family. In the Eastern Region, there is a strong sense of pride in our heritage, identity, and culture. We continue to celebrate our joyful occasions through our traditions, holding firmly onto our roots.

My connection to this heritage is one of pride and appreciation, which is why I dedicated this series to documenting it. The project received a very positive response, and people often approach me with questions about our traditions. I believe its success lies in presenting heritage through a contemporary, fresh, and non-traditional artistic lens.

— If we look at your earliest Instagram posts, we see that you started with sketches — portraits of Eminem, Snoop Dogg, and Drake. Your work today feels very different. When did the turning point happen, when you decided to change your artistic direction?

— During that period, I was creating a lot of comic-style illustrations and semi-realistic portraits using ink and watercolour. I built an audience that appreciated and collected those works, and I became known for that style. However, I eventually reached a point where I felt it no longer represented me. I believe it is important for artists to create work that reflects who they are—not just what pleases others.

I began intentionally seeking a distinctive style, exploring different artistic movements and techniques until my current approach took shape. My background in realistic art played a crucial role; it taught me a strong foundation — understanding facial anatomy, composition, and structure. That foundation allows me to now break the rules creatively. I often say: learn the rules first, then break them in your own way.

— In 2022, you posted an artwork featuring a horse and described it as “one of my absolute best artworks.” Why does this particular piece mean so much to you?

— At the time, I described it as one of my best works because I was struggling with oil painting, and horses are among the most challenging subjects to draw due to their complex anatomy. That painting was both my first realistic oil painting and my first time painting a horse.

Completing it gave me a strong sense of achievement, and it still does. The piece stands apart from everything else I had created before, making it a pivotal moment in my artistic journey.

— From what I understand, you enjoy collecting old newspapers. Can you tell me more about this hobby? When did it start, and what drew you to it? How many newspapers have you collected so far?

— I am generally drawn to aged and vintage objects — old newspapers, furniture, fabrics, devices, cassette tapes. Anything old feels meaningful to me because it represents a specific era and generation. I believe these objects carry a certain spirit and depth.

I can’t say exactly how many items I have collected, but this love for old things extends into my photography hobby as well. I often go on photography walks, and I am especially drawn to old neighbourhoods and traditional markets. They are full of unique objects, and people in their most natural, unfiltered states.

I believe this appreciation began with my mother, who collects antique items. Our home has always been filled with unique, aged pieces, and growing up surrounded by them shaped my own connection to the past — though I express it in my own way.

— Sometimes you give names to the people you paint. How do you choose these names? Are these characters imaginary, or are they based on real people?

— I have always loved reading, especially classical Arabic literature. My father placed great importance on our mastery of Arabic, which made me attentive to word meanings and linguistic nuances. Over time, I developed a strong interest in eloquent, rare, and old Arabic words.

Many of my characters’ names are inspired by the meanings, symbolism, or cultural associations of certain words or places. I rarely use a word as is; instead, I adapt or derive names that align with the character’s traits and the narrative. Giving characters names and stories creates a deeper connection between the artwork and the audience — it allows them to feel as though they have truly met the person depicted.

Some characters are purely imagined, while others are inspired by people I know. As an artist, I naturally observe and store visual details. Even when a character is fictional, their features are often a composite of real people I have encountered.

— Among the many faces you paint, can we find yourself?

— Absolutely. I have painted myself many times. Every character I create carries a part of me — whether visually, emotionally, or in spirit. In every artwork, I leave behind a fragment of myself, directly or indirectly.

— How do you choose colours when depicting people? Their skin tones are sometimes violet, green, or very pale pink. What guides your decision to portray certain characters in these specific ways?

— I don’t follow strict symbolism when choosing colours. I simply love colour and believe it brings joy. Some works may carry specific colour meanings, but often I choose colours intuitively, guided by harmony and emotion. I enjoy exploring colour combinations and experimenting with balance.

When it comes to my characters, colour choices are largely instinctive. Sometimes a character simply feels right in blue, green, or soft pink. Occasionally, there is symbolism, but more often it is driven by feeling and aesthetic intuition.

— I have seen one of your artworks many times online — it has become quite viral. Can you tell me the story behind it?

— Yes, that piece spread widely shortly after I shared it. The artwork depicts a traditional wedding scene from the Eastern Region, focusing on how women—especially older women, like our grandmothers—used to dress. They traditionally wore patterned jalabiyas and light head coverings, with great variation in fabrics and designs.

I portrayed the woman in a spontaneous, natural seated position on a traditional floor setting — a posture familiar across many Arab cultures. This familiarity is what resonated so strongly with people. Many viewers connected it to memories of their grandmothers, mothers, or family gatherings, which gave the artwork its emotional power.

— Finally, what message would you like to communicate through your art?

— Through my art, I aim to encourage both viewers and artists to think creatively and beyond the familiar. Even ordinary or traditional subjects can be presented in unconventional and meaningful ways. Recently, I have also embraced art as a form of documentation — whether of personal memories, moments, or heritage.

Above all, I want my work to tell stories, build scenes, and reflect my personal perspective on the world.