JEDDAH: Saudi entrepreneur Nada Malki is giving consumers the option to experience classic art in a whole new way.
With her brand Atheera, a concept born from a lifelong connection to literature and art, Malki is transforming classic paintings into handcrafted wooden clutches that carry art beyond gallery walls and into everyday life.
Saudi entrepreneur Nada Malki is giving consumers the option to experience classic art in a whole new way. (Supplied)
“Building Atheera was never something planned in a traditional business sense,” Malki tells Arab News. “In many ways, it was a return to something I had quietly carried for years. My previous corporate communications role taught structure, branding, discipline, and how to communicate meaning clearly, but art was always where I felt most connected to myself.”
Whenever possible, she turned to painting or reading as a form of escape from the demands of professional life. Over time, that separation became increasingly difficult to sustain, as art shifted from being a parallel interest to something more essential that continually demanded attention.
Atheera was born from Malki’s desire to change how great art is typically experienced. It is often distant, confined to museums, galleries, and books. This distance prompted her to ask why should art remain static, observed only in designated spaces, rather than becoming part of daily life — something lived with rather than simply looked at. Atheera is her attempt to dissolve the boundary between art and the everyday.
Atheera was born from Nada Malki’s desire to change how great art is typically experienced. (Supplied)
A defining moment in Malki’s journey came during her stay in Amsterdam. Each morning, she would visit the Dutch capital’s famed Rijksmuseum as soon as it opened. And she found herself drawn repeatedly to a particular work: a small painting by Carel Fabritius of the titular bird chained to its perch, but bearing itself with a quiet sense of dignity.
Her response to the work was immediate and lasting. She describes being struck by its sense of resilience — a small figure appearing restrained, yet persisting. For her, the painting became more than a piece of art on a wall; it became a reflection on endurance, quiet strength, and emotional connection.
Leaving Amsterdam brought an unexpected sense of loss to Malki. The desire to carry the painting beyond the museum walls lingered. The idea behind Atheera was not simply to replicate paintings, but to allow them to travel with their viewers and become part of their personal identity.
The name Atheera itself reflects this intention. It draws from the Arabic word “athar,” meaning trace or imprint, referencing the lasting mark art leaves behind. It also echoes “atheer,” suggesting something elevated or cherished, while carrying distant associations with Athens, a city historically linked to classical culture. Together, these meanings position Atheera as a bridge between cultures, memory, and artistic expression.
Translating the concept into a physical form required careful consideration. Her chosen medium is handcrafted wooden clutches, produced in Saudi Arabia using mahogany. Wood, she felt, offered a sense of permanence and warmth, allowing each piece to resemble a miniature framed painting rather than a conventional fashion accessory.
It was also significant that wood ages with character. The material itself contributes to the identity of each piece, with natural grain patterns adding depth and individuality. Brass detailing, inspired by antique museum lighting, frames each artwork, creating the impression that the painting is still illuminated within its own space.
Malki said, “Each clutch is handpainted by artists using premium oil paints, drawing from a collection of more than 50 classical artworks. No two pieces are identical, as every brushstroke introduces subtle variation. This ensures that each object exists as a singular interpretation rather than a mass-produced replica.”
The works are divided into themed collections, which include “The Gallerist” — featuring paintings by Van Gogh, Monet, and more — and the regionally focused “The Turathiyah,” intended for “admirers of desert horizons, palm-lined villages, galloping horses, and the exotic beauty of Arabia,” according to the Atheera catalogue.
Each of Atheera’s pieces is designed to be carried, yet also to be observed, existing in the space where utility and artistic expression intersect. A handbag, often one of the most visible personal items, becomes the carrier of an artwork rather than an accessory alone.
“Creating something handcrafted with this level of quality requires patience and precision. I lost track of how many samples we created until we reached the perfect vessel,” Malki says. “Working with handpainted oil art on wood is far more complex than standard manufacturing, because every stage, from painting to drying to assembly, takes time and care.”
She says another challenge was ensuring the pieces remained functional without compromising their artistic integrity. A further difficulty, she notes, was positioning Atheera within the market, as it does not sit neatly in a single category.
“It is not purely luxury fashion, nor purely fine art,” she says. “Communicating that identity required careful storytelling and branding.”
