Awarded Artists

Dominique Jaussein photographs the dancer’s body as a living sculpture, using light to reveal muscle, exertion, the texture of skin and the marks of time. In his black-and-white images, the body enters into dialogue with wood, bringing strength, vulnerability and movement together within a single frame.

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In A Trance of Chlorophyll, Marcel van Beek photographs monstera leaves at such close range that the familiar plant dissolves into fields of light, shadow and movement. Using selective focus and intentional camera movement, he creates images poised between botanical form and abstraction, in which nature appears at once intimate and strange.

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Turgay Uzer photographs big cats and other wild animals at moments when behaviour, habitat and the animal’s gaze carry equal weight. His images combine the patience of close observation in the field with a strong sense of composition, documenting life in habitats that are changing rapidly and, in some cases, disappearing.

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Deepa Sharma uses watercolour to explore transitions between light, shadow and atmosphere, creating landscapes that convey an inner state rather than a specific place. Layered washes, softened edges and a muted palette lend her woodland scenes a sense of presence, calm and subtle transformation.

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Niko Kapa brings together design, craft and material research, translating AlUla’s landscape and cultural heritage into functional objects made from desert sand, recycled ceramics and concrete composites. His forms echo the contours of dunes, valleys and carved rock formations, while sustainability is embedded in both their materials and the way they are made.

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David Moješčík creates figurative sculptures in which classical anatomy meets the philosophy of yoga, with its emphasis on balance and non-attachment. Smooth, closed forms and restrained facial detail lend his figures both a powerful physical presence and a sense of levitation, stillness or release from gravity.

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Veronika Kvitko uses discarded objects, packaging, sand and pigments to show how social systems push animals out of public view and beyond moral consideration. Her research-based works connect material choices with questions of economic value and sentience, asking which lives society is willing to see and recognise.

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Anna-Maria Becher photographs architecture from close, shifting perspectives, stripping balconies, façades and concrete surfaces of their functional context and turning them into geometric compositions of light and shadow. Through stark black-and-white contrasts and the absence of human figures, she transforms monumental structures into images of order, isolation and spatial stillness.