Oman-based visual artist Mays AlMoosawi (b. 1994) welcomes bayn/space to her peaceful Muscat studio she shares with her mother, the brilliant mind behind a slow fashion label Abeer’s Things, and her sister, artist Haneen AlMoosawi. In a candid interview AlMoosawi reflects on the importance of her serene oasis and discusses why she never hopes to lose a sense of play in relation to her artistic practice.

You share a beautiful studio in Muscat with your mother and sister. Could you tell us more about the importance of the studio space for you all?

Mays AlMoosawi: The studio is a space for all of us to disconnect from our daily lives and return to our creative, feminine element. Most of the time, each of us works quietly in her own room, but on some days we gather in one space, each working on something different while talking, sharing, and having tea together.

What’s the first thing you do when you enter the studio?

Mays AlMoosawi: Honestly, I usually sit in a corner, look at the work around me, and wait until creativity and ideas start coming.

Do you have any studio-related rituals?

Mays AlMoosawi: I move around the studio a lot and do a bit of everything. I might start with sketching, then move into sculpting, and then into painting, with soft music in the background to help me connect. Most of my ideas come when I spend the whole day in the studio, slowly connecting with myself and the space. 

What does a typical day at the studio look like for you?

Mays AlMoosawi: I usually start by washing my brushes and spending a little time on Instagram. Then I go through my writings and read them out loud to myself. After that, I begin mixing colors and slowly move into painting. If I feel uninspired, I allow myself to rest for a while, then come back to the work with a clearer mind.

Do you work in silence, with music, or with background noise?

Mays AlMoosawi: I go through phases. Some days I need complete silence so I can listen to my thoughts, but on other days I need music to move me and shift my energy.

Could you share some of your most meaningful objects within your studio?

Mays AlMoosawi: I have a huge snail shell that I’m obsessed with. Every time I look at it, I’m reminded of the gifts that nature has given us and the quiet beauty of the natural world.

What are some of your most cherished memories at your studio?

Mays AlMoosawi: I love hosting at my studio. Some of my most cherished memories are the days when I had friends over, where we barbequed, talked, and danced together in the space.

How would you describe the energy of your studio?

Mays AlMoosawi: When I’m in the studio, I feel like I’m no longer in the city. There is a sense of isolation in a comforting way, and the energy feels very calm and grounding.

How do you move through periods of doubt?

Mays AlMoosawi: I allow myself to feel the doubt fully, even if it feels dramatic. I usually write my thoughts down, then slow myself down or shift to a different activity until the feeling softens. With time, I find my way back to the work when I feel more grounded and back on track.

How does the presence of another person shift your process?

Mays AlMoosawi: It tends to slow down my process. I become more aware of other people’s presence, and the natural flow in my work shifts. I work best when I am completely alone, as it allows me to stay fully connected to my thoughts and inner rhythm.

What does it mean to be vulnerable through work?

Mays AlMoosawi: To me, being vulnerable through work means being emotionally open with the whole world. I still find it difficult at times to share and speak about my work, as it often feels like I am exposing parts of myself. But I’ve learned that this openness is also what gives the work its honesty and depth.

What are you working on right now?

Mays AlMoosawi: I am currently in a production phase, working on a series of paintings for a few upcoming group exhibitions. 

In 2025, at the time of your first solo show titled Dear Self, You’ve Witnessed Woman at War to Be Themselves, organised by Emergeast in Dubai, you noted that you are looking to connect with your inner child again. Could you tell us more about this sentiment?

Mays AlMoosawi: Throughout my work, I encounter parts of myself that I had never fully met before. Before the Dubai  show, my work mainly spoke about the stories of the women in my family and how their beliefs, insecurities, and experiences shaped who I am today.

However, for the show in Dubai, my focus shifted more toward my own emotions. The question became: who would I have been without their influence? That process allowed me to connect more deeply with my inner child. It felt like I was having quiet conversations with her, gently reminding her that the beliefs she carried about herself were not truly hers, but inherited from others.

What role does experimentation play in your practice?

Mays AlMoosawi: It is truly at the core of what I do. Experimentation allows me to stay curious, intuitive, and emotionally connected to my process.

How do you navigate personal narrative versus universality in your work?

Mays AlMoosawi: I don’t believe there is such a thing as only my story. Everything I experience, someone else is also experiencing in their own way. So rather than separating personal narrative from universality, I see my work as part of a collective emotional experience. My stories may be rooted in my life, but the feelings behind them are shared and universal.

What do you hope remains constant in your practice over time?

Mays AlMoosawi: The essence of play. It is so easy to lose that sense of curiosity and freedom over time, and I hope to always protect it within my practice.

What has been the most transformative moment in your artistic development?

Mays AlMoosawi: I don’t feel like there was one single transformative moment. Instead, my development has been shaped by many small, quiet moments over time. Each residency, each body of work, and each period of reflection has slowly shifted the way I understand myself and my practice. Rather than one turning point, it has been a gradual unfolding.

What are you looking forward to in 2026?

Mays AlMoosawi: My focus this year is on producing new works and participating in group shows. At the same time, I remain open to unexpected projects and opportunities that may naturally unfold along the way.

Follow Mays AlMoosawi on Instagram here.