The young Saudi plastic artist Hanadi Al-Thunayan distinguishes free thinking, which you know by looking at the subjects of her paintings. As it seeks to break the unspoken and forbidden for the sake of prevention. Hanadi Al-Thunayan is a member of a number of institutions related to plastic art. She is also devoted to composition, as she holds training courses such as portrait drawing. She participated in a number of art exhibitions, most notably the art of the museum held in the King Abdulaziz National Museum, in the King Fahd Cultural Center, and in national and Arab events.

● You have your own style of focusing on drawing with a group of pastel colors that appear accurately as if they are separate, and you are interested in using bright colors in most of your works. Explain your intentions to us.
■ My beginnings in drawing were thirteen years ago as an amateur, and I have practiced painting as a professional since 2016 AD, and that was by experimenting with different types of colors, including pastel, acrylic and oil colors, until I saw that my pleasure lies in using oil colors, through which I feel the depth of conveying feelings Chromatic. As for my works, which are dominated by bright colors, this is due to the artist's feelings, the situation he is going through, and his positive view of the reality in which he lives.

● In one of your recent personal exhibitions in Riyadh, you displayed a group of paintings that express the state of Sufism and its methods in its Mevlevi dances. What were you aiming for when you drew the particular angles of the Mawlawi dance?
■ In the “Iktamaal” exhibition, which was held in the “Qumra” hall, organized by the artist Masada Al-Yami, my participation was in one work entitled “Readiness”, adapted from the novel “The Forty Rules of Love”, which embodies man’s relationship with his Lord and the environment in which each of us lives, which is the first series Which I translated into an artwork that simulates the beginning of a person's willingness to change his reality, which is characterized by chaos or surrender to instincts that may destroy him most of the time. The word readiness was a symbol of the readiness of the human soul to start a new life, using reason, logic and challenge to face a reality that could destroy us spiritually and physically. Through my readings of the poetry of al-Hallaj, the thought of Tabrizi, and Jalal al-Din al-Rumi, I thought of making a sequential and rooted collection of the subject of Sufism, which I chose as my subject. Firstly, because it is a sublime message that teaches the artist how to refine the human soul, how to deal with its difficulties, and how to prepare to face the difficulties we face in life and reality. Sufism is a belief that exists in our religious life, hence I felt the need for a dialogue on these topics. And here I would like to clarify for those who give notes to the artist, in terms of attributing it to a belief once he has worked on an artistic subject, that the artist is objective in his method and view; I can be influenced by the aesthetics in Buddhism, and produce a work of that aesthetic regardless of whether I belong to it or not.

● You stress the importance of the encouraging role played by the family in supporting plastic women, in particular in their persistence, excellence and confidence in their creativity. Explain to us about that important role.
■ This matter means a lot to the artist, as moral support is important, especially when it comes from family and friends. Fortunately, I am surrounded by supporters who support me a lot, the first of which is my mother, may God protect her.
The artist, and the non-artist, in order to overcome the troubles that may encounter him, needs supporters, partners, and mentors, and a line that can be active in society, complete his ambition, and deepen his talent.

● What art projects are you currently preparing for?
■ I have many projects and more dreams, but at the moment I am learning the French language with the aim of studying plastic art more academically in Paris, in order to be able to engage in training in a more professional way, and I hope that dream will come true. In addition to my current participation in local exhibitions, in cooperation with the Culture and Arts Association in Riyadh, in direct drawing, in order to spread the culture of fine art locally.

● Do you think that modern technology and social media have a role in creating a different artwork?
■ Of course, social networking sites have given the artist, the creator, and the talented an opportunity, in terms of acquiring new information, getting acquainted with the latest artistic developments, and spreading his talent. Before that, information and dissemination were difficult, and now, with the press of a button, you can communicate with the artists of the world, and gain new experiences and knowledge. I have benefited greatly from the workshops and artistic courses that are offered in the new means of communication, such as the portrait painting course in oil colors by trainer Munira Al-Ajmi. And I benefited from those courses that are held via live broadcast. The means of communication also benefited me by seeing the works of plastic artists everywhere, and the ease of communication with them and contacting them virtually, and knowing their artistic techniques in addition to the different schools of art. And this technology provided me with the spread through participation in artistic events.

● You are interested in participating in exhibitions organized by institutions interested in Saudi arts and culture, such as the King Abdulaziz Historical Center and the Saudi Commission for Tourism and National Heritage; Is there a specific purpose, and what does society mean to you?
■ Artwork is not only creativity and talent, it is an idea that simulates reality and simulates imagination at the same time.
The value of the artwork comes through freedom and independence. Adherence to the dictates of the other limits creativity, limits the artist's thinking and makes him unable to deliver the work as he wants it to the recipient. If the artist is forced into a certain topic or a certain thought that he is not convinced of, then the work becomes, despite the high technique and mastery, without a feeling that touches the feelings of the recipient, and the matter turns into something like a wax statue; Beautiful, but soulless.

● As a trainer in drawing education, what is the importance of presenting art workshops to the public? And how can a plastic artist be a trainer in the field of art and a disseminator of the culture of badminton and color among the new generations?