What’s it like behind the veil? Picture: Faisal Almalki Source: Supplied

For Saudi photographer Faisal Almalki, this female ritual remained one shrouded in mystery. He resolved to experience the practice for himself, documenting the entire experience with his camera.

“It started as both a visual and investigative experiment,” Almalki told the Huffington Post Arts. “From a visual point of view, I — as a photographer and person — cherish sight and I’ve always wondered how veils affect sight and seeing.

“But on a more contextual level, I’ve always wanted to understand this culture and I thought if I managed to at least see the world they way they see it, I might scratch the surface of ‘walking a mile in their shoe.’”

He went to find out. Picture: Faisal Almalki Source: Supplied

For his photographic investigation, Almalki took inspiration from 20th century German biologist Jakob von Uexkull, particularly his idea of the ‘umwelt’ or ‘self-world as perceived by organisms living within it’.

The artist stepped into the role of biologist to fully immerse himself in this alien way of life. “Understanding how organisms experience their surroundings, needs and motivations can only be achieved by stepping into their perceptual world,” the exhibition expressed. “An organism creates and reshapes its own umwelt when it interacts with its environment.”

It’s not exactly a clear picture. Picture: Faisal Almalki Source: Supplied

Almaki titled his series Lone Canyon, reverencing the gap between a woman and her veil. Yet as the photographic process continued, the artist noticed it changing shape.

“I took a few photos of flowers as seen from behind the veil, except some of those flowers weren’t real — but the veil affects vision enough for us (ie. her) not to see the difference. And that’s when I realised that I wasn’t trying to understand veiled women, I was trying to judge them.”

Vibrant flower. Picture: Faisal Almalki Source: Supplied

While the project began as an effort to see through an Islamic woman’s eyes (and veil), it ended up revealing the biased mode of viewing the artist himself possessed.

The view from underneath. Picture: Faisal Almalki Source: Supplied

“Those pictures instead became a portrait of my prejudice,” he explained. “I’ve always resented how some western media outlets profiled Muslims and Middle Eastern, and this showed me how I was doing the same. Turning the veil onto that barrier between us and ‘the others,’ whoever that might be.”

Shopping. Picture: Faisal Almalki Source: Supplied

As Almaki’s series progressed, the symbols associated with the veil changed shape.

“When I started working on this project, I kept saying that I wasn’t pro or against veils, I just wanted to offer their perspective to the world.”

A street view. Picture: Faisal Almalki Source: Supplied

Yet Almaki realised that for many, the veil isn’t just a symbol of difference but of inferiority, of otherness.

“Suddenly, the veil, became a symbol of prejudice, that wall between any person and ‘the others.’”

It has become a symbol of prejudice. Source: Supplied

Almaki’s project then transformed into an investigation of the invisible veil that so many unknowingly wear, the obstructive layer of prejudice.

Buildings under construction. Picture: Faisal Almalki Source: Supplied

Lone Canyon runs at Athr Gallery in Jeddah, Saudi Arabia until January 10, 2015

This article originally appeared on the Huffington Post and is republished with permission.

It’s hazy. Picture: Faisal Almalki Source: Supplied

Buildings reach to the sky. Picture: Faisal Almalki Source: Supplied

Trees stretch out. Picture: Faisal Almalki Source: Supplied