PROLOGUE | PERSONAL
Rashid Al Khalifa, imagine you would welcome us in your studio or home. Where do we talk together, where do we meet you? If you came to visit me, we would meet in my studio. Mainly what I do in my studio is my oil paintings — I still do and I still love them, I cannot leave it. I used to work with acrylics some time ago, and I do pastels and drawings. I like Watercolour, but you know, the oil is taking over. The metal work, like the aluminium work, has to be done outside the studio. I have helpers to do the welding for me, because aluminium needs welding and I cannot do that. The enamel spray paints are also done in a special place, because it needs to be confined and controlled, and we need to wear masks because the smell is quite strong. And in the studio I also have a small place for some books and some paintings that I did 10 or 20 years ago.
Image above: Rashid Al Khalifa, Photo: Oliver Mark
Perhaps we are sitting in your favourite place?
My… emm, sofa! — Hahaha, my sofa, because I sit there to look at my artworks and I just say: oh, I’ll change this!, alright, I’ll add something to some paintings. Once a painting is signed, I discipline myself not to go back to it. But before signing, I often leave pieces for years, giving myself the liberty to return and make adjustments if needed.
Please allow me to ask what is your title, or the correct way for us to address you?
Just Rashid. Rashid Al Khalifa is fine.
Thank you very much. So, Rashid, you were born in 1952 in Manama, Bahrain as a distinguished member of the Bahraini royal family and a pioneering artist. Which people have particularly influenced you in your artistic life so far?
I started being interested in art during school time, mainly at the age of 14 or 15. I saw some family members and also friends at school painting, and that gave me an interest in painting. My art teacher at the time was kind and supportive, and he encouraged us to paint. I found relaxation and satisfaction in painting. From that age, I started concentrating on drawings and paintings. From a young age, I made a name for myself among family members and also in our small community. That gave me encouragement, and so I continued.
Which books have influenced or shaped you during the years?
There was a book about Van Gogh that really influenced me — about his life, his suffering, and the way he went through his career. His paintings were not appreciated, and he suffered a lot. The first time I heard of him was at school, when we read the story that he cut off his ear. That made me interested to read more about him.
Also, the Italian artist Canaletto. At high school, I was awarded a prize for being one of the good artists. As a prize, I was given a book about Canaletto and a book of paints. They called our names during the morning school assembly and presented it to me. That experience made me search for more books about Canaletto and learn about his work. I also love Renaissance artists very much.
Which writers do you currently find exciting, what are you reading now and where lies the book ready to hand?
At the moment, I’m reading a book given to me by a famous curator and art researcher, edited by Cornelia Lauf. It’s about a world’s leading artist weaver, Alexandra Kehayoglou, who makes carpets. Her carpets are beautiful — they look like landscapes, green fields, nature. I’m reading her story — how she started and how she developed her artwork.
I also follow contemporary art, which is evolving and moving so fast. There are always new names and artists coming up. I follow them through books, the internet, visits to art fairs and exhibitions.
What music do you listen to and when?
When I paint, I don’t like a very quiet surrounding. I like to have noise!, but not too much hahaha. I’ll tell you why. Because, I used to paint at an art club with other artists who made noise behind me. Later, when I went to my studio, it was very quiet, and I felt alone. So, I started to put the radio on — not so much television, but radio. There’s a nice radio station here that plays pop and soft music — not too extreme, not too classical. Of course, I have some CDs of various musicians and some classical music, which is very relaxing. But I prefer modern songs and music at a low volume — just hearing it from a distance.
If you were to cook something for us, what would it be?
Haa! I love cooking! When I was studying in the UK, I used to invite friends and family members over to cook for them. One of the main dishes I like to cook is leg of lamb. Leg of lamb it’s so nice! I like to put garlic and rosemary on it, then bake it in the oven. I use the sauce from the baking as a gravy, and I serve it with baked potatoes that have a crispy skin. With rosemary I love the smell and the taste of rosemary with the lamb, I also like to serve it with green peas — the small ones, when they’re in season.
What is your favorite dish?
I love pasta! — all kinds of pasta. Sometimes it’s not good for the shape, but I could eat pasta day and night … I don’t go for the creamy ones; I like more of the red — tomato, vegetables, and seafood. Pasta!, Pasta!, Pasta!
How do you feel about breakfast—an essential ritual, a mere necessity, or perhaps something entirely different, even unexpected?
My breakfast is a very ritual timing. I really like breakfast, and I like to take my time. I sit and contemplate many things. I sketch — I sketch for ideas, and sometimes I get some crazy ideas in the morning!
After breakfast, I like to go to the studio and see what I did the previous night. Most of the time, I see disaster, haha, but it happens. Breakfast is important to me — I don’t skip it.
What activities or sports help you balance your artistic work?
Unfortunately, in the last few years I’ve been quite lazy. Although I want to, and I like to, I haven’t been very active. I used to be more active — not into extreme sports, but more physically active. In the last seven or eight years, not so much. But I do enjoy walking. When I have the opportunity to go for a long walk, I enjoy that.
Do you have any special passions or hobbies that truly inspire you?
I love designing. I do a lot of design for interiors, mainly for myself and family. I also do architectural concepts. I say, “I want this shape of a house,” and then I get engineers and architects to make it stand. Right now, I’m finishing a small museum, which I hope will be ready by the end of the year. I’m working on the interior, the exterior, the garden, the landscaping … I also love photography. I collect cameras — classic and new ones. I’m not saying I’m a good photographer, but now technology makes you a good photographer.
What personality trait particularly defines you?
I would say I’m a family man. I love my family and my children, and I’m proud of them. I like to see people being successful — especially those who have listened to me, hahaha, you know …
When I was young, I got a lot of encouragement and support. I want to pass that on to others! I attend many exhibitions, and we have an art space for young artists — we help them, we assist them, and we guide them to become good artists.
I care for art, I care for others, and I hope to see a better world. I have no negative feelings towards people, racist or nationalities — I love everyone! I’m open-minded and would like to see others sharing my thoughts. I think we are here for a short period, and we have to make the best of it and leave something behind so people remember us in a positive and constructive way. I hope they will follow the same thinking.
Is there something deeply on your mind right now—perhaps a thought, a feeling, that you like to share with us?
I mainly wish that everyone follows their dreams, you know, and conquer what they have in their mind, and we are here on this planet, leaving brother, sister, families .. and it should be all for everyone, that everyone has a space, everyone has the freedom to move, and that’s all, yeah. I like and wish to see prosperity for everyone. I know it may sound naive, but I know that our world is not as beautiful around us and I hope for better times, better situations … I’m glad that technology is advancing so much. It’s bringing us all together and helping mankind be in a better shape, a better place in all aspects— whether in medicine, comfort, or in the lifestyle and well-being of human beings.
INTERVIEW | ARTIST + POSITION
Now, we transition from you as a person to you as an artist. We would like to briefly introduce your artistic career. Your artistic journey began in your youth, leading to his first exhibition at the age of 18. Educated in the United Kingdom, you have developed a diverse body of work over more than five decades, transitioning from Impressionism and Realism to Abstract and Individualism. You have exhibited internationally, including at the Saatchi Gallery in London. In 1983, you founded the Bahrain Arts Society, of which you are now Honorary President. You also created a platform for artists with the RAK Art Foundation. In 2021, you were appointed Chairman of the National Council for the Arts. Your work and commitment have had a significant impact on Bahrain’s contemporary art scene. Did we forget something?
No. That’s good, thank you.
How did you get into art? Why art?
This passion started mainly when I was young, 14 – 15 years old. As a youngster, I always looked up to others. My eldest brother used to paint—he would do pencil drawings—and one of his friends used to do paintings. Watching them as a young boy really gave me this feeling of wanting to do the same.
Luckily, my art teacher encouraged me at that time. I was very happy that he gave me the opportunity to paint and explore that side of myself. We used to stay after school for another two hours, twice a week, just to paint. We did this for a couple of years. Those extra hours really helped me find my way.
I still remember the first thing he gave me to paint—it was a postcard. He said to me, “Paint this,” and I was like, “But I don’t like this.” It was a view of an old, historical mosque. I didn’t really like it, but he said, “Try.” So I did. It had these two minarets … and I just kept drawing them. I actually wanted to paint something more like a landscape—trees, the sea, something like that. But he insisted on that mosque postcard.
Now that I think about it, maybe he wanted me to think about perspective or something. Because the two minarets were different heights—one was shorter than the other. Maybe that was part of the lesson. That really helped me to develop.
What is currently making you happy?
Everything around me makes me happy. Seeing family members be successful and healthy is very important. Of course, the state of the world affects everyone to some extent; it impacts moods and outcomes.
But above all, what matters most is what you’re doing personally. In my case, with art, I’m quite satisfied. It’s fulfilling to see others appreciating my work. Also, seeing fellow artists succeed brings me joy. There are several artists I care about, and watching them improve and climb the ladder in terms of quality is really rewarding.
What is currently scaring you?
I don’t like seeing all the suffering in the world—so much of it is really unnecessary. I’d like to see peace and tranquillity in every nation and society.
As for art, it’s very satisfying to receive praise and recognition from different parts of society and even from other countries. It’s fulfilling to feel appreciated.
And of course, it means a lot when your friends and fellow artists support you. Some of them have supported me from the beginning and still do today—and it’s just as important to support them in return.
Do you believe that art has a social responsibility? And what do you think it can achieve?
I think art has a responsibility—a duty—to really alleviate and uplift society.
In Bahrain, for instance, before women started to enter the art world, exhibitions were quite boring. They were mostly limited to men. But since the mid-1980s or early 1990s, more and more women started to participate. Before, they were shy and kept their creativity to themselves. They didn’t exhibit, they didn’t share their work publicly. But we encouraged them. As a society, we said, “You should exhibit, you should come out and share your art.” And now, honestly, there are more talented women than men in the scene.
I’m really glad about that—because the mother plays a key role in the family. She raises the children, takes care of the home. And if the mother values art and understands culture, the whole family grows with that mindset. The children will flourish with that knowledge and appreciation. If only the father values art but not the mother, I don’t believe that’s enough. The mother should be involved in art and culture. Then the children will follow naturally. I took my kids to museums many times, and at first they weren’t that interested. They wanted to go get ice cream or ride their bikes. But when their mother said, “No, we’re going to the museum,” they listened. She told them, “There’s something interesting here,” and they believed her. They followed her lead. So I really think that women’s involvement in art is essential—for the development of society, and for the development of culture.
What characterises your art? What is your work about – what are the central themes?
(From this answer we will refer to the separate box in this interview about your central work ‘THE DEED | DAS WERK’. Please see section No. 4 for further questions on this topic. The content of the first question is basically twofold.)
How do you protect yourself from too much inspiration in today’s times?
I think it’s good to stay open—you shouldn’t limit yourself. In my view, the more experiences you have, the better. Especially for young people. The more you experiment with different materials, different ideas, the richer your perspective becomes. Some people stick to a very strict approach, and honestly, that can get boring. It’s better to absorb influences from different cultures, try out various materials and concepts. Just try everything. Don’t say “I don’t like this” or “I don’t like that” without even trying. Personally, I like all kinds of food—that’s my problem! I want to try everything, except maybe a few creatures… like snakes. I don’t think I could do that. (Laughs) But in general, I think food is a great example—every society has its own traditions. Maybe some dishes are too spicy or too salty, but as long as the ingredients are good and there’s nothing harmful in it, it’s all worth trying.
It’s really about being open-minded. Let your mind absorb, be creative, get inspired—but don’t copy. There’s a big difference between being influenced and copying. I think you should let your mind explore—listen to music, watch movies, find inspiration every day, as much as you can.
How much of your work is planned in advance – how much arises intuitively?
It depends. If I’m doing an oil painting, sometimes I have a clear idea in mind—something I want to express—so I start sketching and then move into color, developing the work from there.
But when it comes to my aluminum work, it’s more structured. There’s a different approach. I have to think about the material—will I use aluminum mesh? How will it be supported by steel? There’s an element of engineering involved. It has to be stable. It can’t be too tall; it needs to stay level. So I have to study all that. If the piece is going to be indoors or outdoors, that changes the materials and how they’re used. It needs to withstand wind, for example. It can’t fall over.
So the process really depends on the type of work. With oil painting, I can walk into the studio and either start painting something I’ve been thinking about, or just begin with loose scribbles. Sometimes a line leads to something—I start and just let it evolve until it becomes a complete piece.
When I used to paint landscapes, I’d either travel within Bahrain or go abroad. I’d see a view I liked and sketch it to capture the impression. I wouldn’t paint it on-site—that’s not easy for me—but I’d use those sketches and impressions later to create the final piece.
What is your position on the subject of faith? Do you have principles of faith or is there a motto?
That’s a very spiritual question—and one that’s been debated for ages. I don’t think anyone has truly found an answer to who we are, why we’re here, and what our purpose is. Are we being guided by something greater, or are we in control? Are we the drivers of our lives or just passengers? Some people leave everything to fate, believing things are simply meant to be.
In my view, life is very short. Whatever good you do will come back to you, and the same goes for harm. Helping others, doing good—it builds something inside you. It nurtures you, it restores something that you might have lost.
Prayer, of course, is personal. If you pray—whether in a mosque, a church, a synagogue, or a temple—that’s between you and your creator. And I respect that. But doing something good for others is different. When you help others, you don’t expect anything in return. You do it from the heart. Unlike prayer, where some expect a reward from God, helping others is selfless—it’s a form of generosity that comes with no expectation.
Being kind, generous, inspiring, and friendly—that’s what truly feeds the soul. You won’t get a material reward, but it helps you live better, feel better, and enjoy life more deeply. Worship is one thing, but I believe we’re also here to care for others, to live with others in mind.
What are your (next) goals?
The reason I continue creating art, first and foremost, is passion. I’m a bit greedy in that sense—I truly love what I do. Following my passion is what fulfills me the most.
But I’m not doing it only for myself. I want my children to be proud of me one day. And hopefully, others can also find joy in what I create. I aim to inspire people. In our society, we’re already seeing many young artists who have grown, matured, and become quite accomplished in their work. They now have the power to influence others—and I believe that’s the ultimate goal: to become a role model.
My mission is to leave a legacy, to inspire others, and to help society reach a better place. Because when you visit a space and see how well it has been crafted, you go home thinking, “Yes, I can do that too.” The same happens when you go to an art exhibition—maybe not everyone, but at least a few visitors will leave inspired and start creating. That’s exactly what happened to me.
In the late ’70s and early ’80s, I stopped painting for a couple of years. Then I went to an exhibition, and it reignited that spark in me. Exhibitions have that power. They influence people’s actions, no matter their age.
That’s what I hope my work can do—inspire others and leave something behind that my children can be proud of one day.
Which project would you still like to realise if a lack of time, courage or financial resources did not play a role?
Oh, many things. When you ask me something like that—it’s like saying “the sky’s the limit,” right? I mean, technology today is incredible. But to be honest, I’m not deeply into it, because technology requires a certain understanding—you need to study it, really grasp it. That said, the kind of artworks you can create with today’s tech are absolutely amazing.
But if you asked me to forget about all that—to think purely as Rashid bin Khalifa, as an artist—I would say I’d love to create artworks in significant public spaces. Large-scale installations, ideally in places that carry meaning. I’m not saying exactly where, but places that leave a strong impression.
I had a small opportunity like that not long ago: I was invited to exhibit near the Pyramids in Giza, in Cairo. The location was breathtaking—the vast emptiness, the sheer size and presence of the pyramids. It was incredibly powerful. Just having that chance was deeply fulfilling, and I hope I’ll have the opportunity to do something similar again someday.
In your view, what are the attributes of good art?
The artist—haha, yes. Good art always starts with a good artist. Someone knowledgeable, experienced, someone who has gone through a whole process, a journey. No one becomes a good artist overnight. You have to pass through stages—maybe starting young, maybe later in life—but those phases of growth and development are essential.
It’s not just about talent. It’s also about timing, about being in the right environment, surrounded by the right society, and having the right idea at the right moment. You could have a brilliant concept today, but if it’s already 30 or 40 years too late, it might fall flat. That’s the reality.
*Or perhaps even too early—too ahead of what society is ready for?
Exactly. Some ideas are just too early. But when a talented artist presents their work at the right time—and when people are open to understanding and accepting it—that’s when everything aligns. That’s when it truly works.
Is one born as an artist? Or is studying art compulsory?
I think it’s persistence—more than anything else. You can be talented, sure, but if you don’t practice, if you don’t paint and keep pushing forward non-stop, that talent will just fade. It’s a downhill slope. You have to keep that passion and fire alive inside you, constantly. No matter what happens, if you stop working, stop developing, it all stalls. And honestly, you shouldn’t listen too much to outside voices—believe in yourself and just keep going.
If you do that, I think you’ll eventually reach a high standard. I truly believe that. And you know, there are people who may not have had much natural talent to begin with, but through experience, they grew. They learned, they opened their eyes. Vision—that’s what matters most.
You have to observe what’s around you. Learn from your mistakes. Look at your own work and recognize what’s not working. There are many techniques, many ways to analyze what went wrong and how to improve.
How do you see the future of art in the age of AI?
Well, of course, it’s a big challenge. But you know, it’s like when photography was first invented—what, over 150 years ago? People thought art was over. They said, “We can photograph battles now, landscapes, anything we want—we don’t need artists anymore to go and draw these scenes.”
Sure, a photo can capture a scene with more accuracy than any painter, but it doesn’t have a soul. It lacks emotion. And in the end, photography didn’t kill art—it actually enhanced it.
So with AI—it may be able to recreate the Mona Lisa, sure. It may produce a thousand water lilies. It might even mimic Van Gogh’s style perfectly. But it won’t be Van Gogh. It won’t carry that same emotional depth, because human feeling is still the most essential part of art. AI might simulate emotion, but it’s still artificial—it’s not born from real, human experience.
That said, I do support technological progress. I encourage the development of AI and photography—because I actually love photography too.
What is your opinion on the topic of NFT?
And NFTs—of course, when I first heard about them, I was like, “What’s an NFT?” They told me it’s something stored in the cloud, and I thought, “Alright, fine, something up in the cloud.” Then they asked me to design one. My children were really excited about it, and they said, “Draw a monkey!” So I said, “Okay, if you want a monkey, you’ll get a monkey.” I think it’s fun. It sparks a kind of healthy creativity.
I mean, any form of artistic expression—even if it’s outside traditional art, like digital platforms or programs—can still nurture creativity in people. I don’t see it as a negative thing at all. On the contrary, I see it as something very positive. Whether it’s Canva, NFTs, or AI, these things can support human creativity.
Maybe an artist doesn’t want to work with oils or charcoal or all the traditional mess. Maybe they just want something contemporary—like using an iPad to draw and create. And honestly, that’s totally fine. I love that.
Who do you show a new work to first?
I shared it with some friends, you know. I like to get their feedback—I’d say, “What do you think? Is it any good?” And some would look at the face and be like, “Oh… you know…” while others would say, “No, it’s very nice!” So yeah, I mostly shared it with friends, just to see what they thought.
What does the first hour – and the last hour – of your day look like?
Well, the first hour of my day is usually spent enjoying breakfast. Yeah, breakfast time. As for the last hour, I’m usually at home, either reading something—maybe an article online, or a book—or just browsing through some of my own photos or paintings. Sometimes I look at a piece and think, “Tomorrow, I’ll change this.”
Aktuell habe ich mit Sandra Schindler von der Galerie Schindler in Potsdam ein Reel zum Thema Beziehung gemacht. Es dreht sich um genau das: die Beziehung zwischen Mensch und Kunst – zwischen Sammler, Künstler und Galerist. Diese Verbindungen kann man digital erzählen, aber wirklich erlebt werden sie im direkten Kontakt.
In the age of the Internet of Things, are galleries still necessary? If so, why and for what?
I think it’s very nice. Yes, I use the internet a lot—I collect and buy artworks online. It’s a very useful tool. But I still believe galleries have a human touch. When you walk into a gallery, it’s a completely different experience compared to visiting a virtual one. During COVID, I spent a lot of time exploring virtual galleries. Yes, we saw some beautiful artworks, but when you physically go to the space, it’s just … different. Nicer. Maybe in the future it will be a hybrid experience—physical and virtual galleries. But still, color, presence, atmosphere … those things matter. And I believe connecting with other human beings is part of our nature. We simply can’t be apart for too long.
If you’re isolated, I think you eventually go mad. In many places, especially those far from the city, people feel that absence of human connection. We need to be around others. I always say—what’s heaven without people? If heaven had no people, I wouldn’t want to go there.
We are social creatures. You can go to a restaurant, even if the food is amazing, and if it’s empty, it just doesn’t feel right. But then you go to a pizzeria full of people talking and laughing, and you enjoy that meal way more than a five-star restaurant that’s completely quiet.
It’s all about connection—seeing people, bumping into friends. That’s part of life. Online I can do business, send emails, ask for a close-up of a painting… but still, it’s not the same.
Social media – blessing or curse?
I think it’s a blessing—a big blessing. You see, with technology today, you’re able to see much more detail. You can read, zoom in, explore multiple elements, and revisit them whenever you like. That’s powerful. Of course, there’s a downside when it’s misused, but I don’t think we should let that become a barrier.
Social media, for example—yes, it can be dangerous, but it’s like having a knife in the kitchen. You can use it to cut vegetables, but you can also cut your fingers. It all comes down to how you use it, using your mind and being sensible.
So in my view, it’s really a good tool to have. Social media can be fantastic.
Read more about the artistic message of Rashid Al Khalifa in THE DEED | DAS WERK:
THE DEED | DAS WERK: Rashid Al Khalifa
The artist Rashid Al Khalifa, who was born in Bahrain in 1952 and has lived in London from 1972 to 1978 to study, talks about the central message of his artistic work.
Please describe the core theme and central message of your work.
Basically, what I try to show is that I come from this part of the world, but I express it in a very contemporary way. My recent artworks, like the ones that will be exhibited in Berlin, carry this idea — they are contemporary artworks with a sense of geometric, modern design that’s related to the culture here.
I want to project something of our culture, not by copying patterns or traditional geometry, but by getting the essence of it — the feeling of it. I work with aluminium artworks, suspended pieces that come down from the ceiling, creating shadows and reflections. It’s all about mixing contemporary artwork with cultural and geometric thoughts behind it.
So, the core message of my work is a reflection of contemporary geometry and cultural influence, rooted in where I come from — but not in a literal way. It’s about conveying that spirit.
Introduce to us the work that you feel exemplifies or best embodies the message of your work.
Every painting I’ve done is close to me! — I like most of them, they’re all like my babies :). But if I had to choose one, I would say the yellow mobile. I think it reflects the geometry and the cultural hope, even though there’s nothing traditionally suspended apart from lanterns or lights. The geometry of it and the reflections it creates — that’s what makes it special.
The suspended yellow column really represents what I’m trying to do. It captures the balance between tradition and contemporary expression through form and movement.
What is the goal of your art, of your work – what is it supposed to do for the viewer?
What I’m doing, I hope, will inspire others and give them happiness and satisfaction. Art is meant to be shared. There’s no point in keeping art to yourself.
Any artist or creative person should share their thoughts, their ideas, their results. I hope that, in my small and humble way, what I do gives people incentives and ideas :). I want my art to offer moments of happiness, to inspire others — especially emerging artists.
I remember when I had my first solo exhibition at the age of 18. Some fellow artists still remember the paintings from back then. They ask me if I still have certain pieces. That shows me the work stayed in their minds, and that’s a beautiful thing — to bring others pleasure and to stay with them, to help and inspire them.
So I hope my art gives people some pleasure, creativity, and inspiration.
The question about THE DEED | DAS WERK is a complementary and separately presented part of THE INTERVIEW IN|DEEDS with Rashid Al Khalifa
EPILOGUE | CURRENT
The solo exhibition “Quintessence” with works by Rashid Al Khalifa, curated by Yasmin Sharabi, Director of the RAK Foundation, will be shown at Q Gallery Berlin from 28. June to 22. August 2025. The gallery is located on Großgörschenstr. 7 in 10827 Berlin-Schöneberg.
Instagram: rashid_khalifa
Website: www.rashidalkhalifa.com
The DEEDS interviews are not edited or shortened by our editorial team and are always reproduced in original sound. Therefore, we do not translate the interview into English or German unless the interviewee submits a translation or we are entrusted with the translation. Here, the English version of the interview was submitted by the artist.
