Mona Saudi’s origins and her personal commitments were shared between Jordan, Lebanon and Palestine. Growing up in Jordan, she played in the ruins of Nymphaeum and its ancient Roman public baths. Those enormous blocks of stone would prefigure her future as a sculptor.
M. Saudi left Jordan for Lebanon at the age of eighteen in 1962. She would later settle there, marked by her encounters with artists such as Paul Guiragossian (1926–1993), Adonis (1930–) and Michel Basbous (1921–1981). She also travelled to France, where she entered the École des Beaux-Arts in Paris in 1964. There she created her first limestone sculpture, entitled Mother/Earth (1964).

The sculptures of M. Saudi, a feat of grace that transcends the symbols sometimes represented, never make reference to one single Antiquity or to one civilisation. They invoke the Ammonites, Edomites or the Nabataeans, traces of whom can be found in Jordan. This does not stop other influences arising in her works, be they Etruscan, Greek or even Aztec. The Seed (2007), for example, condenses diverse influences through its minimalist spiral forms. From stone, the primordial matter of the universe and of history, she pulls a living, vibrating mass, inspired by primary geometric forms (square, circle, rectangle, cylinder). The material and its specific qualities (see her use of Jordanian jade stone in the sculpture Dialogue, 2004) are caught somewhere between immobility and movement, symbolical form and abstract expansion; she plays with the colours and natural effects of the different stones used (green stone from Aqaba, pink volcanic stone from Armenia, grey limestone from Lebanon, Carrara marble etc.). As shown in her sculpture Woman/River (2003–2004), she adopts a half-abstract, half-figurative language, evocative of Brancusi, that oscillates between geology, symbolism and a post-calligraphic writing style which can be even better observed in her lithographs and drawings.

Soon after the May 1968 unrest in Paris, M. Saudi decided to return to Jordan to complete a mission, working with Palestinian refugee children who had found themselves in the Baqa’a camp as a result of the 1967 June war. At the beginning of the 1970s, clashes between the Jordanian army and Palestinian fighters (“Black September”) drove her to Beirut, with its effervescent artistic and cultural scene. M. Saudi became involved in the visual arts wing of the Palestine Liberation Organization. She helped organise the major international exhibition in support of Palestine that took place in Beirut in 1978.

In 1983 the artist received a commission from the Petra Bank in Amman for three monumental granite sculptures. She continued to create monumental works, such as Geometry of the Spirit, installed in front of the Institut du Monde Arabe in Paris in 1987.

In 1996 she returned to Beirut to make repairs to her home-studio following damage caused by the Lebanese Civil War. She would live there for the rest of her life.

Works by M. Saudi can be found in several international collections, notably at the Institut du Monde Arabe in Paris; at the National Museum for Women in the Arts in Washington D.C.; at the National Gallery of Fine Arts in Amman; at the Sharjah Art Foundation in Sharjah and at the British Museum in London.