LONDON: A woman cradling a baby, a child’s drawing of his friends playing football surrounded by tanks, weary men sitting hunched in a tent with a faraway look in their eyes — these are some of the closely observed scenes captured by 12 artists who ventured into war zones and refugee centers to record the lives of men, women and children fleeing bombs, oppression and poverty.
Their work is now on show in “Journeys Drawn: Illustration from the Refugee Crisis,” which runs until March 24 at the House of Illustration in London. Curator Katie Nairne explained that illustrators are often better able to blend into their surroundings than photographers or film crews, and have greater personal contact with the people they are drawing — many of whom do not wish to be on camera.
“Reportage illustration can give a sense of immediacy in a way that the camera can’t,” she said. “In a lot of these situations, a camera would have been too insensitive or intrusive. Without a camera between you, you can get a human dialogue.”
Some of the artists were commissioned by charities including Save the Children to document the plight of children caught up in the turmoil — many suffering the additional nightmare of making the hazardous journey alone.
They have captured people in situations which most of us can scarcely imagine, documenting refugee experiences in Greece, Bulgaria, Italy, Syria and the ‘Jungle’ camp in Calais. Other poignant images show refugees starting their new lives in Germany.
There are hard messages contained in the images and it is not comfortable digesting some of the views expressed. A scene drawn by reportage illustrator Olivier Kugler in ‘The Jungle’ in Calais — an illegal refugee camp which has now been dismantled by the French authorities — depicts some young Syrian refugees, with speech bubbles so we can follow their conversation. They discuss how they had tried to seek refuge in the Gulf but with no luck — and note that Gulf countries are not opening their doors, unlike Turkey, Lebanon and Jordan. No explanation for this ‘closed door’ policy is given but it does strike the observer as odd, given the scale and proximity of the Syrian refugee crisis.
One of the men drawn by Kugler, Ammar Raad, was desperate to join his brother living in Newcastle in North East England. He has now made it to the UK and is studying at London Metropolitan University. He eventually — after many failed attempts — succeeded in making the hazardous crossing from France to the UK concealed in a suitcase aboard a coach. He attended the private viewing of the exhibition and brushed off his traumatic experiences as being nothing exceptional in the context of the suffering of his fellow Syrians.
A haunting illustration by David Foldvari, who regularly works for the New York Times, Guardian and Financial Times, depicts a young boy called Awet, whom he interviewed in Rome on a commission from Save the Children. He had some concerns, he said, about talking to the 15 year old, as he was worried about causing further trauma.
Awet’s story is a poignant reminder of the terrible ordeals suffered by many child refugees. He fled Eritrea and trekked from Ethiopia to Sudan. Smugglers crammed him and 30 others into a small pick-up truck bound for Libya. In Libya, they were kidnapped. Awet spent two months in a tiny room in an abandoned factory, sharing a small portion of pasta once a day with 11 others. Only after his family wired a ransom was he set free. He then had to endure the sea crossing in a boat that quickly took on water and ended up having to be rescued by the Sicilian coast guard.
He regards the Civico Zero center in Italy, supported by Save the Children, as “a beautiful place.”
Two of the illustrators, Majid Adin and Mahmoud Salameh, are themselves former refugees. Iranian cartoonist Adin fled to Europe in 2015 following persecution in his home country, spending six months in the Calais jungle before reaching London in the back of a refrigerated lorry. Within weeks of arriving in the UK he heard about an international competition to design a video for Elton John’s 1970s hit “Rocket Man.” He entered a video inspired by his own journey, revealing the fear, danger and loneliness he endured, particularly the painful separation from his wife and children. Incredibly, having endured the deprivations of the Calais camp, 12 months later Adin found himself back in France, in Elton John’s somewhat-more-luxurious home in Nice, to celebrate winning the competition.
Palestinian-Syrian refugee Mahmoud Salameh also brings his own direct experience into his work. He spent 17 months in an Australian detention center before settling in Sydney, where he works as a cartoonist, animator and graphic artist.
Toby Morrison was commissioned by Save the Children in 2015 to illustrate Syrian refugees waiting to register for asylum at a center in Germany. Here he met 10-year-old Yousef — one of many child migrants making dangerous journeys without their parents — who occupied himself by drawing his own pictures while Morrison drew him. Yousef’s drawing of his friends playing football surrounded by tanks is included in the images that Morrison shows in the exhibition.
Graphic novelist Karrie Fransman’s ‘infinite zoom’ animated film is inspired by the true stories of four Eritrean refugees who made the dangerous journey across Ethiopia, Sudan and Libya to Europe. The film takes you through a ‘time tunnel,’ where you move rapidly from your destroyed home in palm-studded subtropical lowlands to a cold, grey alien landscape in Europe, conveying the sorrow of displacement — only to then suffer the nightmare of being sent back to the very place you fled; a circle of suffering endured by those who fail to qualify for asylum.
“Journeys Drawn” is a remarkable exhibition which really brings to life the personal stories of refugees. Nairne pointed out that the journeys are often not linear and include many stages of uncertainty and seemingly endless waiting.
By focusing on the real lives of an individual or a small group, each illustrator transports the viewer into those lives. For a moment, they emerge from the ‘collective’ of refugees, and that brings home the fact that what happened to them could happen to anyone caught up in the vicious grip of war, famine, poverty and corruption.
‘Journeys Drawn’ reveals the reality of life as a refugee
‘Journeys Drawn’ reveals the reality of life as a refugee
- 12 artists ventured into war zones and refugee camps to capture the lives of people living there
- "Journeys Drawn" runs until March 24 at the House of Illustration in London
From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script
- ‘I feel there is a holy light within the letters,’ says Abdulaziz Al-Rashedi
DUBAI: Saudi calligrapher and arts instructor Abdulaziz Al-Rashedi’s first love was the pen. His fascination with writing began in elementary school in the Eighties in his hometown of Madinah.
Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. In the eyes of the calligrapher, writing is an artistic act, like a dance, that has its own kind of magic.
“What I loved about the pen was the way the ink was flowing out of it,” he tells Arab News. “The pen led me to my love of writing Arabic calligraphy.”
But there were challenges imposed by the conservative social environment of the Kingdom in the Eighties and Nineties.
“People didn’t regard art as something important. During that time, people thought that art couldn’t generate money. For them, it was a waste of time,” he says. “In such a depressing environment, I was suffering from people’s lack of interest. They were saying that the writing would distract me from my studies. But actually, it encouraged me to study.”
Not everyone disregarded his interest in pursuing calligraphy, however. Al-Rashedi’s late father was always a supporter.
“He was a believer in writing, and conserving it,” Al-Rashedi says. “He thought I was doing something important with my life, even though others thought it wasn’t important. They likened it to making scribbles. I was literally making art on my own. None of my friends shared this interest with me and there were no calligraphy institutes to encourage this talent. The situation was very difficult.”
But in 1993, Al-Rashedi learned there was, in fact, a master Saudi calligrapher living in Madinah: Ahmad Dia. He kindly agreed to teach Al-Rashedi the basics of Arabic calligraphy. And, perhaps just as importantly, to do so in his home, which Al-Rashedi compares to a school and a museum, as well as a meeting place for calligraphers.
“I was young, but he treated me like a man,” the artist recalls. “For us calligraphers, he was like a spiritual father figure, who planted a seed of determination in us. He always encouraged us and never told us off if our writing wasn’t on point.”
Al-Rashedi remained in contact with his tutor until Dia’s death in 2022 during the COVID pandemic. “When he died, it felt as if the light went off,” Al-Rashedi says.
Al-Rashedi also trained himself by copying the work of another important figure: Hashem Al-Baghdadi, the influential Iraqi calligrapher and educator who published books on the rules of Arabic calligraphy. Al-Rashedi describes the pre-social media era as a “truly dark period” when there were no opportunities to host exhibitions or share his work with others.
“People weren’t communicating with each other. It was a period that lacked (opportunity) and even good materials, such as pens and paper,” he recalls.
But with the advent of social media, most notably Facebook, and the opening of a few art galleries, including Jeddah’s Athr Gallery in 2009, things improved drastically. Today, Al-Rashedi is able to share his work on Instagram and other platforms, displaying the skills he has honed over three decades of practice.
Arabic calligraphy is an internationally respected art form that has existed for thousands of years, exercised in Islamic texts and found on monuments around the world. So, what is its long-lasting secret?
“I often ask myself why the curves of Arabic calligraphy have bewitched people for so long, and I believe it inevitably has something to do with its holiness,” he says. “Allah has been an inspiration for calligraphers and their innovation of writing. I feel there is a holy light within the letters of Arabic calligraphy.”
But Al-Rashedi also believes that, for many years, calligraphy has been stuck in a rut, untouched by modern innovation or creativity.
“Many calligraphers have literally said that Arabic calligraphy has reached its end and no one could add anything new to it,” he says. “Such an idea is incorrect.”
Indeed, Al-Rashedi has invented his own form of Arabic calligraphy, which he calls “3punt.” (He says the name refers to the size of the letters, which are written using three different pens.)
“It depends on the idea of lessening the thickness of the letter. Usually, one pen is used in Arabic calligraphy. But I discovered that the original bulkiness of Arabic scripture and the usage of just one pen prevents Arabic calligraphy from having new forms of writing being added to its system.”
Based on a strict set of rules, Al-Rashedi’s 3punt calligraphy contains 55 “subtypes of writing,” he says. It has its own lightness and elegance, with carefully choreographed flowing lines of slender Arabic script.
Ultimately, Al-Rashedi believes that Arabic calligraphy is about connections.
“If we look at Latin or Chinese scripture, on letters like ‘n,’ ‘e,’ or ‘r,’ they are based on separate components. But with Arabic calligraphy, you can connect six or seven letters in one go,” he says. “Without a doubt, Arabic writing — as an art form — is superior to other types of writing.”
US contemporary artist Brendan Murphy discusses his first show in Riyadh
RIYADH: The American contemporary artist Brendan Murphy brought his solo exhibition “Complete Control” to Ahlam Gallery in Riyadh on Nov. 7. The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo.
The show features a number of Murphy’s iconic “Spaceman” sculptures, with a particular focus on his limited-edition collectible series titled “Magication.”
In an interview with Arab News, Murphy said the main goal of his show is to bring people “into the moment.” He also stressed that he felt a “creative cultural resonance” with the Kingdom, where he believes people have shown “an appetite for creative works.”
He said: “I have a lot of stuff I’m working on, but I’m focused on building a foundation in Riyadh right now. This show is not a one-shot deal, I want to be a part of this renaissance (that’s happening in Saudi Arabia) for the next five to 10 years, at least. I want to be a part of it — I want to lead it if I can.”
Murphy’s body of work includes colorful abstract paintings and sculptures of his signature Spacemen, which explore themes of beauty, power, and the human experience.
As a kid, watching astronauts and space shuttle launches played a major role in Murphy’s life and eventually became one of his main artistic inspirations.
“My spacemen have little to do with space travel,” he explained. “They epitomize embracing the unknown — taking that step — more than somebody that literally is flying into darkness.”
Murphy’s Spacemen come in various sizes and forms, including small collectibles and large-scale installations. This versatility allows them to fit into diverse settings, from private collections to public art displays. The sculptures can be found across the world, including a 13-foot Spaceman in Houston’s Minute Maid Park baseball stadium and a 22-foot Spaceman in Oslo.
Murphy hasn’t always been an artist. He was once a professional basketball player in Europe, and then became a Wall Street trader. “I did not make a full pivot into accepting that I was a creative person until I was maybe 29,” he said. Today, he is one of most financially successful contemporary artists in the world.
In 2021, Brendan created his “Boonji Project” — a collection of his artwork as non-fungible tokens — and launched it on the Ethereum blockchain (which uses the cryptocurrency Ether). It became the largest primary NFT sale in history, producing $15.5 million dollars.
His work has proven popular with both serious collectors and celebrities, including the tennis players Novak Djokovic and Serena Williams, as well as US business mogul Warren Buffett.
Inspired by artists including Jean-Michel Basquiat and Jackson Pollock — famed for their use of color — Murphy’s art aims to encourage the viewer to tune into their emotions and discover the unknown.
“I love color as a means of communicating a feeling,” Murphy said. “When I make something and I get it right, my work creates energy and that’s pretty cool. Color is the easiest way of creating energy; different colors connect with different feelings.”
Murphy said his practice, by choice, demands that he step out of his comfort zone. He utilizes non-traditional methods and rare materials including chrome and diamonds to create conceptual pieces. He has become famous for his extravagant works of art, including “Frozen with Desire,” a sculpture of an astronaut encrusted with 6,200 diamonds, priced at $25 million.
“As an artist, you have to be uncomfortable all the time,” he said. “Find comfort in what you can control, then break it and go where you have no idea what you’re doing.”
Mark Strong plays ‘interesting version’ of all-powerful ruler in ‘Dune: Prophecy’
JEDDAH: The latest big-budget sci-fi series takes fans back to the familiar universe of Frank Herbert’s “Dune,” but 10,000 years before the events of the recent movies starring Zendaya and Timothée Chalamet.
The HBO Max show “Dune: Prophecy” — streaming in the Middle East on OSN+ — follows the rise of the shadowy Bene Gesserit sisterhood. British actor Mark Strong takes on the role of Emperor Javicco Corrino, a man who has become ruler of the galaxy at a tumultuous time.
No stranger to playing characters in powerful positions — most recently, he portrayed the ruthless mob boss Carmine Falcone in another HBO series, “Penguin” — Strong claims that his Emperor Corrino is a little different to the usual screen versions of such men.
“I’m playing a very interesting version of the guy in charge,” Strong tells Arab News. “So, he is the emperor of the universe, which is a great part to play as an actor, obviously, but what’s fascinating about him is his vulnerability — the fact that he is managing a fragile peace.
“So, the guy isn’t what I normally am asked to play, which is people with power who know what they’re doing. He’s very unsure of himself. He doesn’t feel like he’s inherited the ability of his father, he feels a bit of an imposter. He’s trying to deal with a world that he’s not in control of. And I love that juxtaposition of a man that’s supposed to be in charge and supposed to know what he’s doing, and actually he’s very unsure of himself.”
For Strong, the success of the current “Dune” movie and TV franchise is down to the source material.
“The base of the whole thing is these amazing novels that people adore. They are incredibly complicated — really rich. A lot of what we know as modern science fiction, whether it’s ‘Star Trek’ or ‘Star Wars’ or whatever, they come from those books,” he said.
“It’s a world that you want to try and have a go at, because nobody’s done it before. The series, obviously, is set before the movies and in a very different world. And it’s great to have a go at something that that is as fresh as this.”
Princess Rajwa attends parliament session in Jordan
DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein attended a ceremony marking the inauguration of the first ordinary session of the 20th Parliament in Amman on Monday, marking her second public appearance since the birth of her first child this summer.
The royal showed off an elegant black ensemble for the occasion, complete with an oversized belt by Dior and pumps by Chloe. The look was finished off with the Goji Mini Bag in Black by Jill Sander.
Princess Rajwa was photographed alongside Queen Rania, who showed off a red look courtesy of Maison Valentino and Altuzarra.
Princess Rajwa made her first public appearance since the birth of Princess Iman bint Al-Hussein bin Abdullah II at a 2026 FIFA World Cup qualification match in October.
On August 3, 2024, the royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah.
At her birth, Jordan’s King Abdullah posted a tribute to his granddaughter on social media. Translated from Arabic, the post read: "I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.
“We ask God to raise her well and protect her for her parents. You have lit up our family.”
Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of late Saudi businessman Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif, who died in January this year, and his wife, Azza bint Nayef Abdulaziz Ahmad Al-Sudairi.
Flormar seeks to expand Saudi footprint to meet growing demand in beauty market
DUBAI: Skincare and makeup brand Flormar is planning to triple the number of its stores in Saudi Arabia over the next four to five years to meet the demand of a burgeoning and increasingly competitive market.
Established in Milan, Italy, in the late 1950s, the company is now headquartered in Turkiye. Arab News spoke to CEO Matthieu Gomart about why he is so keen to increase the brand’s presence — currently 25 outlets — in the Kingdom.
“The beauty market in the Middle East — and specifically in Saudi Arabia — is quite dynamic,” he explained. “They have double-digit growth, making it one of our most exciting markets.”
Flormar has undergone something of a transformation in recent years, refining its product lines and formulations to appeal to a broader, more discerning audience.
Gomart said the brand’s approach has evolved to focus “on high-quality makeup at affordable prices” that aligned with skincare and ethical beauty trends.
The company’s clean and vegan products, designed to enhance skin health, have been particularly well-received among Saudi consumers, he added, noting an increasing appetite for natural ingredients and skin-friendly formulations.
It is a trend highlighted by panelists at Riyadh’s Hia Hub beauty conference in October. Industry insiders, such as Chalhoub Group president Patrick Chalhoub, told Arab News the under-30 demographic “use skincare products more frequently and are willing to experiment with innovative products, even with brands that are not necessarily very popular.”
With an entire conference dedicated to growing the Kingdom’s skincare market, it is no wonder Flormar has identified it as a target segment.
Gomart said Saudi consumers were also embracing innovations such as “skinification” — adding skincare benefits to makeup products.
To meet this demand, Flormar is adapting its offerings to include sun protection and hydration in its makeup line.
“Saudis have a strong appetite for those nutrients,” he said.
Flormar’s growth includes partnerships with local retailers, distribution through pharmacy chains, and plans to expand its e-commerce footprint.
“We are happy to be contributing to the rise of self-expression in Saudi Arabia,” Gomart added.
