In a quiet studio in Muttrah, where the past lingers in the curve of an old archway and the rhythm of the sea echoes through narrow alleys, Omani artist Idris Alhooti continues to paint stories that capture the soul of a nation. Known for his vibrant, mosaic-like compositions and deeply rooted cultural themes, Alhooti is widely regarded as one of Oman’s most prolific and influential artists—often described as “the Omani Picasso,” though he humbly resists the label.
Born in 1975, Alhooti grew up in a family steeped in artistic expression. While many of his brothers turned to music, Idris found his voice in drawing and painting. Since joining the Youth Art Studio at 17, he has spent over three decades building a dynamic body of work that spans traditional media and modern techniques. His creative output includes painting, illustration, digital art, calligraphy, video art, and even public design installations. From book covers in Oman to gallery walls in Switzerland, Spain, South Korea, and Morocco, his art has become a visual ambassador for Omani culture on the global stage.
At the heart of his work is a quiet reverence for heritage. Much of Alhooti’s art centres on the figure of the Omani woman—covered, mysterious, dignified. Though he admits he is still unpacking the reason this motif recurs so often, it has become a powerful symbol of identity and introspection in his visual storytelling. Through texture, contrast, and form, he explores how Omani women carry both the weight of tradition and the pulse of modernity.
His artistic practice is equally grounded in place. Drawing inspiration from his surroundings, Idris creates works that harmonise with local architecture and landscapes. His portrayals of old Mutrah—the arches, alleyways, and intimate details—echo with memory and atmosphere. In some pieces, palm trees become poetic forms, blending with Arabic calligraphy to represent the inseparable bond between language and landscape. These symbols of Omani life—both natural and architectural—are woven into a unique visual language that speaks to heritage, identity, and continuity.
He has also shown a rare versatility across media. From oil and watercolour to charcoal, pastel, cardboard, and digital video, Idris approaches each new material with curiosity and care. His passion for experimentation continues to shape a style that resists being pinned down—part traditional, part contemporary, and entirely his own.
Over the years, Alhooti has participated in more than 100 exhibitions around the world, including notable appearances in Germany, Bangladesh, Belgium, India, and the GCC. Yet, what he values most are not the venues but the conversations. “The experience of meeting artists from different countries and cultures has shaped me deeply,” he says. “It helps me understand the artistic directions that others are taking, and where we fit in.”
His influence in Oman extends far beyond the gallery. As a former graphic designer and calligrapher at Sultan Qaboos University, he brought creative thinking into institutional spaces. He has conducted over 20 workshops for beginners across the Sultanate, nurturing a new generation of artists with patience and insight. His work has appeared on numerous book and magazine covers, quietly embedding art into everyday Omani life.
When asked about advice for young artists, Alhooti shares: “Don’t stop drawing. Keep experimenting. Don’t rush into claiming an artistic identity. Let it grow naturally through research, reflection, and time.” He also cautions against the distractions of social media. “Many focus on followers and likes. But true growth comes from consistent practice and honest critique.”
Despite his success, Alhooti remains grounded. He is critical of how some local art events are organised and calls for better curation, greater government support, and more strategic efforts to showcase Omani art internationally. “We have great potential,” he says, “but we must also push ourselves to improve, to organise better, and to maintain a high level of quality in what we present.”
Currently, Idris is preparing for a solo exhibition in coordination with Stal Gallery, expected by the end of the year. While he remains active on Instagram and Facebook, sharing sketches and experiments that might not appear in formal exhibitions, he values in-person engagement and dialogue most. “Social media has allowed me to connect with people and artists across the world, but real interaction is still the most meaningful.”
After more than 30 years in the art world, Idris Alhooti remains as committed to curiosity as he was at 17. Whether he is painting a covered woman, stylising a calligraphic palm tree, or sketching memories from Mutrah, he continues to shape the visual identity of a nation, one brushstroke at a time.
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