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Representing Transition: Fatma Al Shebani Bridges Tradition and Modernity Through Her Art

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Few countries have undergone such rapid and dramatic transformation in such a short period of time as Qatar, a former British territory that, in just a few decades, developed from an overlooked backwater situated on the Persian Gulf to the wealthiest country in the world per capita. Likewise, few artists have captured the essence of this metamorphosis, both in its celebration of change and its retention of tradition, as masterfully as Fatma Al Shebani.

Al Shebani’s career took off after the artist decided to leave teaching for good in 2007. An untimely divorce granted her the opportunity to explore her own future in ways previously unconsidered. In 1994, Al Shebani received her Bachelor’s degree in Fine Arts from Qatar University and quickly established her unique voice, developing a style that bridges time itself to reflect the ethos of a society in transition.

Al Shebani’s preferred mediums include resin, bronze, and stainless steel; strong materials that mirror the internal strength of the many powerful women in her life. As a child, she would often visit the metal and concrete factory her father owned and managed, forming, from a young age, a special relationship with these various elements. Through them, Al Shebani brings wondrous visions and dreams to life. Generally, her work seeks to crystalize memories of the past and its traditions in a style that reflects the contemporary realities of Qatari life.

The concept of clothing as a lens through which one experiences culture re-emerges time and time again through her portfolio. In her ‘Bokhnaq’ series, Al Shebani reimagines the traditional garb of young girls to create statues that capture the essence of childhood, reinforcing this idea by positioning the figures in settings that add to the sense of freedom, play, and child-like joy inherent in the pieces. Her ‘Batoula’ sculptures transplant intimate memories from childhood into the present, specifically when Al Shebani would peek under the batoula of her mother or grandmother to look and touch their faces and connect with a part of their identities reserved only for those closest to them. 

Together, the two series paint a visceral portrait of traditional imaginings of Qatari womanhood: the cultural dress of women both before and after marriage; outward expressions of identity as one transitions from youth into adulthood. In this sense, Al Shebani’s work acts to preserve memory. She succeeds in reimagining tradition in a form that reflects the contemporary reality of Doha’s shimmering skyline of towering steel skyscrapers; in a form more palatable to audiences of the 21st century.

Other works draw direct inspiration from interpretations of Qatari nationhood. Al Adiyat 9 reproduces the words of the Quran’s surah Al Adiyat in the form of sculpture, while simultaneously illustrating the experience of Qatar as a nation racing quickly into its own notions of modernity. Commissioned to honor the drafting of the country’s 2004 constitution. Al Adiyat 9 serves as a powerful testament to the speed of Qatar’s development, the proud history her people have managed to bring into the present, as well as the boundless opportunities that still lie ahead.

Born into a generation destined to bridge the gap between tradition and modernity, Al Shebani has emerged as one of the most prolific Qatari artists of the past 20 years. She has solidified her role as a sort of ‘voice of the nation’, offering the people of Qatar, through her art, a powerful narrative that reflects both the challenges and promises of prosperity that have come to characterize the country’s collective experience of the past 50 years.

To learn more about Fatma Al Shebani and her work, reach out on social media.

Michelle has been a part of the journey ever since Bigtime Daily started. As a strong learner and passionate writer, she contributes her editing skills for the news agency. She also jots down intellectual pieces from categories such as science and health.

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Lifestyle

Why Toba Ogunremi Believes High-Performing Teams Start with Belonging, Not Pressure

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Most teams don’t fall apart all at once. It happens slowly, missed conversations, quiet disengagement, people doing what’s required but nothing more.

Toba Ogunremi has spent years working inside care environments where that kind of shift is easy to miss until it starts affecting everything. Leading operations at Samorem Care in the UK, he has seen how systems can appear stable on the surface while teams underneath struggle to stay connected to their work.

One experience early in his career changed how he looks at leadership entirely.

He had taken over a team that wasn’t in crisis, but it wasn’t working well either. The people receiving care were safe, but they weren’t thriving. The same was true for the staff. There was no urgency, no energy, just routine.

The usual solution would have been to tighten control by setting new targets, increasing supervision, and creating performance plans. He didn’t do any of that.

“I started with conversations,” he says. “Real ones. Not rushed, not formal.”

One by one, he spoke to each team member. What came out wasn’t frustration with the job itself, but something quieter and harder to spot.

“They weren’t disengaged because they didn’t care,” he explains. “They were disengaged because they felt unseen.”

No one had asked what they thought. No one had taken the time to understand how they were coping. Over time, that absence had turned into distance. That moment stayed with him. It shaped how he leads today.

His approach is simple, but not always easy to apply: people perform better when they feel they belong.

He believes high performance usually comes when people feel like they genuinely belong and know that what they do actually matters.

In healthcare, where pressure is constant and expectations are high, this idea can sound secondary. The focus is often on outcomes, compliance, and efficiency. Toba doesn’t dismiss those things, but he questions what happens when they become the only focus.

Even when all the processes are in place, if the people delivering the care feel disconnected, it eventually reflects in the quality of the work.

At Samorem Care, this thinking shows up in small but consistent ways. Recruitment is not just about experience. It’s about how someone responds to people, how they handle pressure, and how they communicate. Once they are in, the focus shifts to keeping teams stable and supported, rather than constantly rotating staff or reacting only when something goes wrong. He also pays attention to how leaders show up day to day.

According to him, leadership is not just about giving direction; it’s about being present enough to understand what your team actually needs.

That presence matters more in care than in most industries. The work is demanding, often emotional, and not always recognised for what it takes. When teams feel stretched or overlooked, it affects how they interact with the people they support.

For Toba, resilience is less about constant pressure and more about creating a work environment where people can do their jobs well without burning out. In his view, strong teams are not just coping; they are supported enough to stay clear-headed and consistent in their work.

His background outside healthcare still shapes how he leads. Having worked in sales and communications, he understands how important it is to read people and build trust. In healthcare, though, the impact is far more direct, as decisions affect someone’s everyday life, not just an outcome on paper.

That shift makes leadership more personal. Teams need more than instructions; they need stability, clarity, and a sense that they are understood. What defines Toba Ogunremi’s approach is its simplicity. He focuses on being consistent, listening carefully, and addressing issues early rather than reacting late.

In the end, his belief is straightforward: teams perform better not because they are pushed harder, but because they feel valued and part of something that works.

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