Sebastián Betancur-Montoya’s journey to becoming Lead Curator of Tuwaiq Sculpture 2025 didn’t happen overnight—it was the result of years of research, chance encounters, and a deep fascination with public art. His interest in Saudi Arabia began during his master’s at University College London (UCL), where he explored Jeddah’s public sculpture program from 1968 to 1986. That research opened the door to a broader curiosity about large-scale artworks in the public realm, particularly in a city with such a complex yet underappreciated sculptural history.
Over time, his connection to Saudi Arabia grew stronger. Living in Qatar placed him in close proximity to the Kingdom, where he formed close contacts with the Saudi art scene. Sebastian explained that new projects were taking shape, and the energy was palpable. It was around this time that he met Marek Bobinski, the previous curator of Tuwaiq Sculpture. A conversation turned into a collaboration, and through Bobinski, Sebastián was introduced to Sara Rueiti, the director of the symposium. After speaking at last year’s event, the idea of curating Tuwaiq Sculpture 2025 started to take form.
With the event now in its sixth edition, the selection process had a well-established structure, but Sebastián was determined to expand its reach. The open call attracted an unprecedented 755 applications—the highest number to date. Reviewing such a large pool of artists was no small task, but it also provided an opportunity to curate with intention. Diversity was a key priority—not just in nationality, but in artistic background and gender representation. Stone sculpture remains a male-dominated field, yet despite women making up only 20% of the applicants, they represented almost 40% of the final selection.
The artists chosen for this year’s symposium defy easy categorisation. Coming from different disciplines—some with roots in contemporary dance, others in jazz composition—they brought a collaborative spirit that shaped the entire experience. The theme of “process” encouraged a break from the romanticised image of the isolated artist, replacing it with a communal, open-air environment where the public could engage directly with the creative journey. This transparency resonated with visitors of all backgrounds, from ambassadors to families and students, proving that public art is most powerful when it invites participation rather than observation.
For Sebastian, one of the most exciting aspects of the project was the unpredictability of location. Unlike typical exhibitions where artworks are designed for predetermined spaces, the sculptures for Tuwaiq were selected before their final placements were decided. The lead curator believes this was” an opportunity to think beyond curation”—he could actively influence how these works would integrate into the public sphere.
Looking ahead, he envisions Tuwaiq Sculpture as a “platform that continuously evolves”. Many traditional sculpture symposiums remain anchored in a modernist aesthetic, favouring abstract geometric forms. Sebastian’s approach is different— he prefers works that resonate with contemporary social and cultural contexts, pieces that invite interaction rather than passive admiration. He even sees a place for industrial designers in future editions, incorporating functional public sculptures that bridge art, design, and everyday life.
For Sebastian, the power of public art lies in its accessibility. He rejects the idea that only an “educated public” can engage with sculpture: “Art doesn’t require formal knowledge—it’s about lived experience, emotion, and spontaneous encounters.” In Saudi Arabia, he has witnessed firsthand a genuine curiosity and enthusiasm for public art. Whether it’s students, families, or passersby, people stop, look, and connect. That, in the end, is what makes public sculpture so impactful—it belongs to everyone.
About Sebastian Betancur-Montoya
Sebastian Betancur-Montoya’s journey is a testament to the power of passion and dedication. Born amidst the majestic highlands of the northern Andes in 1982, he has carved a path that bridges art, architecture, and activism. With a certification in Sculpture fabrication, a Bachelor of Arts in Architecture/ Urbanism, and a Master of Arts in Museums and Gallery Practice, his academic pursuits have laid a strong foundation for his creative endeavours.
Sebastián‘s work thrives at the vibrant intersection of mobility, global politics, and local ecologies—a reflection of his deep commitment to understanding and transforming our world. For 19 years, he has been crafting art across diverse landscapes from Latin America to the Caribbean and the SWANA Region.
His artistic expression knows no bounds; it spans drawing, installation, assemblage, land art, performance—and, more recently—audio and digital imagery. This rich tapestry is woven with threads of curatorial practice and social-environmental activism.
His creations have graced exhibitions, publications, residencies, workshops, and art fairs worldwide —from Colombia to Nassau, St. Petersburg to Berlin, Cardiff to Derby, London to Shanghai—and throughout the GCC cities like Riyadh, Jeddah, Doha, Muscat, Manama, Kuwait, and Sharjah. Sebastian Betancur-Montoya inspires us all with his relentless pursuit of meaningful impact through art that transcends borders and connects communities globally.