By Morooj Al-Attas
Layan Al-Mutawakel is a 22-year-old Visual Communication student at the American University of Sharjah. Born in Yemen, she is an aspiring curator with a focus on cultural and social theory. Al-Mutawakel is currently exploring a project on Socotra’s endangered flora, aiming to challenge traditional botanical narratives through “experimental and funky” design.
You’re currently building an archive on Socotra’s endangered flora. What is the core mission of this project?
I’m building an archive of Socotra’s endangered flora, specifically the plants that are overlooked because they don’t fit the marketable image of the island. Socotra is often framed as alien or untouched, which strips it of its history and complexity. I’m interested in how we value plants based on colonial botany; we care for species that are visually spectacular, while others are ignored. I want to challenge the logic that says we only care for things that can be sold.
Most people only know Socotra for the Dragon’s Blood Tree. What is one invisible plant you fell in love with during your research?
Boswellia nana, a dwarf frankincense tree. It grows close to the ground, almost clinging to the landscape. It’s ignored because it isn’t monumental or heroic looking, and it doesn’t produce enough frankincense to be commercialized. Its invisibility reflects how our attention favors the spectacle, while the small and fragile are overlooked.
Describe your design style in three words
Experimental, funky and critical.
Your project critiques colonial botany and systems of value. How does your design style help communicate such a critical topic?
I think the funky part makes it accessible. If I just presented a dry, academic archive, people might look away. By making it experimental and visually engaging, I can draw people in. Once they are looking at the spectacle of the design, I can hit them with the critical theory underneath. It’s about using aesthetics to start a much deeper conversation.
This project clearly carries cultural and personal weight. How do you handle critique when the work is tied to your heritage?
I’ve definitely noticed that I take critique way more personally when it’s a topic I’m invested in. For example, I did a branding project last year where I wasn’t as attached. So, I took the critique a lot more gracefully. But when you’re dealing with conceptual and critical thinking about your own culture, it feels like a critique of your opinion rather than just your work. You just have to remember the professors are here to help; they want you to make the best version of your project.
So how do you move past that initial sting of critique and refine the work?
I usually just try to take a step back and reflect on it. I’ve learned to separate me from the work, even when the work is about my identity. I try to see the feedback as a tool to make the message clearer for the audience. If I want people to understand my culture, I have to be open to hearing how they currently perceive it. Then, I integrate those notes into the next iteration.
How has studying in the UAE shaped the way you approach a project like this?
In a place with this much diversity, you learn how much you actually have in common with other cultures. It has helped me feel more comfortable in my own identity because everyone is so different that being different” is actually embraced. I’ve been able to express my Yemeni identity a lot more here.
Working on a concept heavy project like this can be mentally demanding. If you ever find yourself stuck at 3 a.m. in the studio, what helps you reset?
Well, first of all, at 3 a.m. the studio is closed (Laughs). But generally, when I’m stuck, I think it’s important to take a break. I’m a big believer in work-life balance. I think you need to step away, talk to people outside of uni, take a walk, read a book, or just watch a show. You need to take a breather.
What was your favorite course at AUS, and how did it shape the way you approach this project?
Even though I’m a design student, my favorite was actually a curatorial practice course with Professor Christina Bonin. I’m heavily interested in curation. I loved the focus on critical and social theory and how that relates to creating exhibitions. I think it’s vital to think critically when working with content, especially when dealing with cultural or political material. It’s also just fascinating to learn how a design project can be translated into a physical space to communicate a message.Ten years from now, when you look back at your portfolio, what story do you hope this project tells?
I hope it shows someone who was curious and wasn’t afraid to try things without a clear outcome. I want it to reflect a designer who used projects as a way to think, not just to arrive at a polished result. I’d like the work to show a growing awareness of context and responsibility, but also a willingness to take risks and let experimentation lead the process.
As Layan reflects on her future, it is clear her work is about more than just aesthetics. By turning her lens toward the invisible plants of Socotra, she is ensuring that the complexity of her heritage remains seen and preserved for years to come.
