Bahraini artist Marwa Ahmed recently launched her latest collection of beaded creations, paying tribute to the kingdom’s indigenous architecture.
Asl, which translates to ‘origin’, ‘roots’, or ‘authenticity’, was born out of a desire to bridge the gap between heritage preservation and contemporary conceptual art.
The two-piece ensemble features brooches that bring alive a traditional Bahraini window commonly seen in old-style buildings, and the iconic Bab Al Bahrain at Manama Suq.
The meticulously fashioned pieces reflect powerful detailing like the wood-crafted window, which is fitted with stained glass. The choice of beads and intricate patterns reflects an aesthetic eye and special skill.
“The idea came from a desire to rewrite the narrative of how we consume our culture,” Ms Ahmed from Budaiya told the GDN.
“Indigenous Bahraini architecture is inherently organic, living, and deeply rooted in its environment. With Asl, I wanted to take these warm, structural principles and transform them into tactile narratives. The goal was to bridge the gap between heritage preservation and contemporary conceptual art, turning architectural elements into wearable heirlooms,” she added.
The entrepreneur, who owns her studio, has years of hands-on experience in structural renovation of indigenous Bahraini buildings. The certified architect believes that architecture is the ‘absolute core’ of her work. Working in the field gave her the discipline of precision, proportion and spatial memory, which she has found useful in her journey as an artist.
“Textile art gives me the freedom to soften the rules. I do not just embroider; I translate structural blueprints into tactile pieces. It is a very natural evolution from building physical spaces to creating conceptual art.
“When shortlisting elements for this collection, I chose structures that anchor our spatial memory. For instance, capturing the grand, historic gateway of Bab Al Bahrain, alongside the intimate, stained-glass wooden doors of old Muharraq. Replicating this structural geometry using tiny beads and thread is highly meticulous, and each piece takes 15 hours to complete. To honour these narratives, the collection is a strict limited edition of only two pieces per design,” she added.
The ‘thread architect’ decided to pursue embroidery more actively during the Covid-19 pandemic. However, she has loved art and craft since childhood and been involved in it since the tender age of 10. Some of her earliest memories are that of accompanying her sister to the sewing shop to create bracelets with shiny beads.
Ms Ahmed’s work embodies bold, vibrant colours contrasted with neutrals, making the pieces stand out. Most of her creations are designed with a wide range of Japanese glass beads but she also experiments with luxurious materials such as semi-precious stones, natural pearls and mother of pearl.
One of her past artworks – a fig brooch – features gold-plated beads and semi-precious stones.
Describing her creative process, she explained that she begins any project by hand-sketching the idea onto a fabric after which she stitches the outlines, followed by the inner parts, depending on complexity of the piece. Finally, she transforms it into brooches or framed wall art.
While the pieces in the Asl range have been acquired directly by private collectors, Ms Ahmed also actively collaborates with select cultural institutions in Bahrain.
“My priority has always been the intimate connection between the artwork and the collector. I am intentional about where and how my art is showcased,” she added.
“My primary focus for 2026 is scale. I am currently translating the intricate structural details of my wearable pieces into larger, conceptual wall art. Ultimately, my goal is to continue pushing the boundaries of textile art in the region, allowing the evolution of the craft to organically dictate the next steps for my studio,” added Ms Ahmed.
Her work is accessible @threadarchitect on Instagram.
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