“I’m more interested in sculpture than any other media. I feel I’m more engaged with the art piece when I’m making a sculpture. I usually use construction materials for my sculptures. I want my art pieces to be for future generations. I don’t know how long Qatar’s construction development will last, but I know it will not be forever, and I want to make something for the future, to remember these days,” says Qatari Hana Al-Saadi. She prefers to let the artworks, or the viewers do the talking otherwise. Depersonalization, 2016, is a bendy grey building block that’s almost anthropomorphised in its stance, yet still 100% concrete. Attempting, 2016, is again a concrete block, but this time it’s more like a home, a boat, a chair.

Al-Saadi received her Bachelor of Fine Arts from Virginia Commonwealth University in Qatar last year. Endless Game, Unless the Power is Out had two fans forever blowing a ball on a board game back and forth. Endless Work, Unless the Power is Out was a disembodied trainer pumping a sewing machine. These infinite loops, electricity permitting, created seemingly hopeless systems of predictability. Before that, she had made an open artwork where she put paper, leaf and snails together to create a different result every time. For this she won a trip to work with Damien Hirst in London, chosen by the artist himself. And in 2013 she took an angle grinder to make Limo Wheelbarrow, stretching the cart to a mega-length. Sustainability, or the lack of it, never seems to be far from Al-Saadi’s mind.

A resident on Doha’s Fire Station programme, she’s fresh now from London’s START art fair in the Saatchi Gallery. She took part in the group show curated by Mahmoud Obaidi entitled Identity, Construction and Deconstruction. “At the moment I see myself in an experimental stage,” she tells me. Al-Saadi’s work can be next seen in London, with Reconnecting Arts, on November 10th.