Diana Al-Hadid is known for a practice that spans media and scale, and examines the historical frameworks and perspectives that shape our visual, material, and cognitive assumptions. Al-Hadid’s sculptures, panel works, and works on paper are built up with layers of material and history. Her rich, formal allusions cross cultures and disciplines, drawing inspiration, not only from the history of distance civilizations, but also from histories of the materials themselves.
Al-Hadid developed a unique process for her panels that evolved from material studies in her large-scale sculptures, but which owe a great debt to her flat work. This body of work falls somewhere between her fully three-dimensional sculptures and her drawings on Mylar, and like all her work, borrow from a variety of sources ranging from Old Master paintings to the innovative works of the Islamic Golden Age. The panels are made additively, and originate from the artist’s quick gestural brushwork, methodically reinforced such that the image dictates the structure. Al-Hadid describes her signature process as “somewhere between fresco and tapestry.” These works have been made as hanging objects, architectural interventions, and most recently as outdoor installation.