Saudi artist Daniah Alsaleh: ‘We can celebrate tradition, but we really need to be open to change’ 

‘Hinat.’ (Supplied) 
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Updated 11 October 2024
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Saudi artist Daniah Alsaleh: ‘We can celebrate tradition, but we really need to be open to change’ 

  • The Saudi artist discusses some of her favorite works and their common themes 

DUBAI: “I call myself a visual artist that focuses on social conditioning and memory.” That’s Saudi artist Daniah Alsaleh’s ‘elevator pitch.’ But, like all such handy soundbites, it fails to convey the complexity and ambition of her layered, multimedia works, which have seen her land several prestigious residencies and awards, including the 2019 Ithra Art Prize. 

For someone whose work has made such an impression on so many, Alsaleh took quite some time to convince herself she was ready to present that work, which at the time was largely influenced by Islamic geometry, to the world.  

“I was interested in art from a young age, but I never really had the opportunity — I went to school and university in Riyadh, where I was born,” Alsaleh tells Arab News. “It was when I moved to Jeddah that I really got into art. I studied at the atelier of Safeya Binzagr, who recently passed away, for probably five, six years. That’s how I really learned the basics of drawing, painting, color theory, shape and form. Then, every time I had the chance to travel abroad, I would take courses in paintings and life drawings. I got hooked on Islamic geometry, and then — after all these years of learning arts, probably around 10 years, I had the confidence to actually finish artworks.” 

Her first show was a group exhibition in 2012. “No one knew who I was, but a lot of the people asked about my work,” she says. In 2013, she joined the roster of artists at Athr Gallery. Now, she says, “it was getting serious,” and she decided to become a full-time artist. In 2014, she moved to London. 

“I decided to apply for a Master’s in Fine Art at Goldsmiths. I didn’t get in but they offered me a place on another program, which was called Computational Arts and that changed my practice completely, 180 degrees,” she says. “This program catered for artists with no background in technology and we were taught how to use physical computing to create installations, and coding as well — like processing and frameworks. I really got hooked. Machine learning resonated with me — we don’t call it AI, we call it machine learning; it’s a program that learns. It changed my practice completely from Islamic geometry to a more contemporary way of expressing myself.  

“I’m not an AI artist. I’m a visual artist,” she continues. “I have machine learning in my toolbox, next to my paints and next to my canvas and next to my videos and next to my audio files and next to my photos. And depending on the context, I just choose which tool I want to use.” 

As suggested by her elevator pitch, that context usually involves exploring our relationship with memory and media.  

“I’m interested in social conditioning in the everyday — things that we take at face value, things that we take for granted,” she says. “These things that we habitually do, where do they come from? And usually I look at media and how that affects us; how it affects our memory, what stays and what gets erased. And how we reprogram our memories, sometimes, just from looking at content on social media. So that’s really what my interest is.” 

Here, Alsaleh talks us through some of her most significant works. 

‘Restitution’ 

This is an example of my older work. It’s from 2017. You see this perfectly organized structure — five panels of hand-drawn Islamic patterns — but then there’s this random brushstroke across them all. That’s my intervention. It’s a commentary on how we are very hooked on celebrating tradition and practices. We can celebrate and appreciate history and tradition, but, at the same time, we really need to be open to change — accepting new things and new ideas. 

‘Sawtam’ 

This artwork — an audio-visual installation — was a big transition for me; a big jump from my paintings. It was created while I was still doing my Master’s, and it’s the piece that won the Ithra Art Prize in 2019. It addresses forms of expression. The visuals were inspired by Manfred Mohr, a German new-media artist who created similar images based on algorithms in the Sixties, and they move or vibrate every time the sound comes out. There were sounds coming from every screen — the pronunciation of the Arabic letters — and when you put them all together in one space, it’s like a cacophony of noise. It’s a commentary on how communication sometimes gets lost, or sometimes gets through. It has a lot of meanings, and it’s very layered, but it’s basically about communication and forms of expression.  

‘That Which Remains’ 

This is a large installation I did for the first edition of the Diriyah Biennale. Again, it’s about memory: collective memory versus individual memory. Collective memory is where we remember things in monuments and celebrations — like National Days. That’s where our collective memory is. But within individual memories, a lot of things get lost, especially when there’s a lot of development and change. So, it’s a — very gentle — commentary about what we’re witnessing and experiencing in Saudi Arabia right now: the individual memories of these characters on the cylinders, which are the buildings and the houses and the structures that are being developed and changed.  

The faces on the cylinders are machine-generated. They’re deep fakes. I collected my own data sets of faces, and then trained the machine to learn to create new faces for me. And then I took those new faces and transferred them onto the cylinders. The paintings are inside-out, so when the cylinder is lit, you can see these shadows of these faces. And then people who visit say, ‘Oh, she resembles my aunt, this resembles my uncle’ and so on. They might resemble them, because they have Saudi or Gulf aesthetics, and the machine learns what you focus on. So if my data set focuses on a certain aesthetic, that’s what it creates. But these people never existed. 

‘Evanesce’ 

This was actually based on my degree show at university. I have two identities: The Western identity and the Gulf identity. And whenever I’m in the West, the news is so different from the news you see in the Middle East. Like, since the Iraq War, all the images you see about Iraq are destruction and war and poverty and craziness and explosions and guns. But what I know about Iraq is culture and arts and literature and science. So for my degree show I collected all these images, Iraqi images, from the 40s, 50s and 60s, for the machine-learning program and created these new images with, like old photo aesthetics. But they’re all deep fakes. And “Evanesce” is a continuation of this research, but focused on the Golden Age of Egyptian cinema. I watched a lot of Egyptian movies, and I collected 15 tropes that are repeated in most of them — the extravagant stairways, the cars, answering the old classical telephone, the belly dancer, the family gathering over breakfast, the chaos in the morning, the protagonists and their friends, the embrace and the romance, the palm trees and the close up of certain buildings. I created data sets based on each trope, and then each data set was trained on a machine-learning program. So then I had 15 outputs of this machine learning based on these tropes, which I stitched together to create this 10-minute film. And this morphing from one image to the other that you see in the video just resembles how we remember things. Again, it’s a commentary about social conditioning. These movies are so prevalent and so important in the MENA region within conservative societies, but the images on screen really contradicted their culture and their values. So it’s a commentary on how, as a society, we watch these things that really contradict our belief system and tradition. But there’s some sort of… it’s similar to obsession. These movie stars and these movies were an obsession to a lot of people within conservative countries. It’s instilled in the collective memory and still resonates to this day. These movies spread from North Africa to the Middle East, to lots of regions where there are a lot of conservatives. So there’s a lot of tension and contradiction between these two worlds. 

‘Hinat’ 

This is an important piece for me. It was created during a residency I had in AlUla in 2022. It’s based on this Nabatean woman — Hinat — who has a tomb in (Hegra). That was very inspiring to me. Obviously, she was from a very prominent family, because she was wealthy enough to have a tomb for herself, and it was under her name. This installation is made up of collages of different views of AlUla and I cut out rectangles on each canvas, and I projected videos into the rectangles. These videos are inspired by Hinat, imagining her future generations, from her bloodline, living in AlUla and roaming around across these landscapes. And the videos were created by machine learning. I hired three ladies from AlUla. We went to different locations and got them to wear these different colorful fabrics. The we shot videos and created data sets from each video, and then trained the program, and it created these very ghostly, abstract figures that move across these landscapes. 

‘E Proxy’ 

This was part of a solo show I did in 2023. It’s a video in which a face morphs into an emoji and then morphs back into a face. It’s a commentary about the ubiquity of emojis and the way we express ourselves in emoticons and pictograms. It’s interesting to me and it’s important. You can’t express our range of emotions in, like, 10 or 20 smileys. It’s just so restrictive. So, what’s happening there? I’m not giving an answer, but I’m opening up a space for questioning ourselves. And, listen, I’m a big advocate of emojis — they help me save time. But I’m asking what is happening here: Is it conditioning us into being less expressive? Or are we conditioning it to be a tool to help us express ourselves? There is this duality. I mean, there’s no correct point of view; it’s very subjective. But it’s always worth raising these questions. 

‘The Gathering’ 

This was the result of another residency I did, supported by the French Embassy in Saudi Arabia, with Catherine Gfeller, a French-Swiss artist. We wanted to know who are the females that are living in Riyadh — not necessarily Saudis — as it goes through this explosion of art and culture and infrastructure. I was born and raised in Riyadh — I live in Jeddah now, but I know Riyadh very well, and I’ve seen the changes. And I’m just in awe and disbelief at what I’m seeing. So, to cut a long story short, we did an open call, and there were 37 ladies who participated who came from 11 different countries — different backgrounds, different generations, different professions. We interviewed them and videoed those interviews, and my focus was on the emotional side of things: How do you deal with loneliness in a big city? What does love mean to you? What about resentfulness? How about forgiveness? Then the audio of the interviews kind of fades in and out. I put them all together as though we’re sharing our thoughts and emotions — a female gathering. And the videos were all manipulated by AI as well; it’s a layered effect, and it’s referencing the different aspects of emotion that we go through.  

‘36’ 

This was part of the same project as “The Gathering.” It’s a composite of the faces of all the women who took part, except for one lady who refused to take off her niqab, so I couldn’t include her in this image. I don’t think this was a new idea — I bet it’s been done many times before — but what I wanted was a commentary on… faced with this perception of what Saudi Arabia is and what Riyadh is and who the women there are… actually, it’s a multicultural city with diverse backgrounds. And when you see this image, you don’t know where the ‘person’ comes from, what their ethnic background is, among other things. You can think of many things when you look at that image.  


How the Michelin Guide will boost the culinary scene in Saudi Arabia

Updated 17 min 9 sec ago
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How the Michelin Guide will boost the culinary scene in Saudi Arabia

RIYADH: The Michelin Guide — the restaurant industry’s most-respected guidebook — has finally come to Saudi Arabia. In a significant milestone for the Kingdom’s culinary scene, the guide — organized in partnership with the Saudi Culinary Arts Commission — will be released in three stages: on the 15th of each month from October to December this year, it was announced at the launch event last month.

The guide “will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” Michelin said in a statement, adding that its inspectors — who visit venues anonymously — are “already in the field.”

As it does throughout the world, Michelin will award one star to restaurants providing “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”

Alongside the much-coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.

The well-known Jeddah-based chef and restauranteur Nihal Felemban says the arrival of the Michelin Guide will raise the bar for chefs and restaurants in Saudi Arabia. 

“It's a dream for most chefs to obtain that star. That will create a very healthy sense of competition,” she tells Arab News.

And Felemban believes the Kingdom’s local and homegrown concepts are more than capable of holding their own against the big-name brands that have been imported in recent years. 

“These concepts deserve to be known. They deserve to be recognized outside the Saudi market,” she says.

“This will give a chance to these homegrown concepts to be on the international culinary map, similarly to what happened in Dubai,” she adds, referring to the 2022 launch of the guide in the UAE. “There were a lot of restaurants we didn't know about (then). The Michelin Guide gave them a voice, gave them a name abroad; it’s a beautiful thing.”

UAE-based Samantha Wood, founder of the impartial restaurant review website FooDiva.net, says the Michelin Guide has had a hugely positive impact on Dubai’s culinary scene.

“Since the launch, the number of independent homegrown concepts has grown every year, with the most recent 2025 guide featuring 29 independent homegrown concepts taking the lion’s share in the top cut of Michelin stars and Bib Gourmand.”

For the Saudi guide, Wood says, “I hope Michelin will prioritise dishing out stars and bibs for the homegrown concepts — like it has done in Dubai. This gives restaurateurs the incentive to develop their own (ideas), rather than rely on importing concepts and franchise agreements.”

Felemban is the founder of one of those homegrown concepts that will be hoping for recognition later this year. Her Jeddah restaurant, The Lucky Lllama, offers Nikkei cuisine, blending Peruvian and Japanese culinary traditions. “I would love to see The Lucky Llama (in the guide), because I believe it can compete on international levels,” she says. 

Felemban predicts that the French Riviera-inspired Le Petite Maison — more commonly known as LPM — and top burger spot Marble will earn some recognition, as well as Jeddah’s Korean BBQ joint HWA-RO. 

The guide isn’t just a boon to the restaurant industry either. Michelin-starred restaurants can offer a significant boost to tourism.

“Foodie travellers use these guides to plan holidays, often booking high ranking restaurants first before planning holidays around these reservations,” says Wood.

Lifestyle and food blogger Sarah Taha, who showcases the luxury food industry in Saudi on her page Swirl The Fork, also believes the guide could be a game-changer for tourism in the Saudi capital.

“The arrival of the Michelin Guide has the potential to spotlight both ends of Riyadh’s culinary spectrum — from its most luxurious dining rooms to its beloved casual gems — making it one of the most exciting food cities in the region,” she tells Arab News. 

“Michelin’s presence won’t just put a global spotlight on our chefs and restaurants; it will also raise the bar for quality, creativity, and service across the board. It’s a powerful statement that Saudi is ready to be recognized as a serious player in the world of fine dining,” she continues. 

Riyadh is home to several standout restaurants that Taha believes are strong contenders for Michelin stars. Her predictions include Japanese restaurants Zuma, Myazu, and Nozomi (the latter “remains a benchmark for upscale dining,” she says), and Italian restaurant Mamo Michelangelo.

When it comes to the Bib Gourmand category, which celebrates more affordable yet high-quality dining, Taha highlights Saudi staples like Mama Noura — concepts that “fuse authenticity with consistency and have built loyal followings. They may not be fine dining, but they’re rooted in culinary excellence and local relevance,” she says. 

Like Felemban, Taha is confident the arrival of the Michelin Guide can only be a good thing for the Saudi food scene.

“From what I’ve seen running Swirl the Fork, there’s so much passion and creativity here. This kind of spotlight will not only validate that, but also inspire a new generation to invest — and believe — in local culinary ventures. It’s about putting Saudi flavors and stories on the world stage.”


REVIEW: ‘Ironheart’ — compelling hero let down by shoddy storytelling

Updated 03 July 2025
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REVIEW: ‘Ironheart’ — compelling hero let down by shoddy storytelling

  • New Marvel series doesn’t play to its greatest strengths

LONDON: For a studio so adept at world-changing bombast, Marvel has enjoyed a surprising amount of success with shows working on a smaller scale, with lower stakes, about characters and the places they actually live: “Ms Marvel” and “Daredevil: Born Again,” for example, have fared better than, say, the globe-trotting mess that was “Secret Invasion.”

So while genius inventor Riri Williams (Dominique Thorne) was introduced during the ocean-spanning events of “Black Panther: Wakanda Forever,” we really get to know her and her Iron Man-esque suit in “Ironheart,” which sees her return home to Chicago. Without the backing of the Wakandans, or the money of someone like Tony Stark, Riri falls in with a slightly more nefarious crowd in order to make money and keep her suit running. Soon enough she’s pulling off jobs for the shady Hood (Anthony Ramos) and his gang, all while dealing with her overprotective mother, trying to find a way to use her inventions for good, and processing the grief of losing her best friend Natalie in a drive-by shooting.

It's quite a bleak story arc for a Marvel hero — Riri makes some questionable choices and some surprisingly selfish ones too. This could have been mined a little more, perhaps, were “Ironheart” not more concerned with racing through the story at breakneck speed. The six-episode run means there’s not much time for character development — a crying shame when there are hints of some fascinating backstories. It also means, sadly, that not much time or money was given to effects. Some of the CGI is shonky in the extreme, while the armor suit Riri has so lovingly crafted is often relegated to little more than a means by which to arrive. Thorne makes for a charismatic lead, and the supporting cast is great (Alden Ehrenreich’s black market tech dealer Joe especially). The plot, however, feels heavy and cumbersome: shoehorned exposition and one-note villains.

The great stuff here is the little stuff. Riri and Natalie’s relationship, a few snatched glimpses of their life in Chicago, Joe’s backstory — all of these deserve more airtime. Without that attention to detail, “Ironheart” feels flimsy. Fun, but ultimately unsatisfying.


Recipes for Success: Alexandre Thabard offers advice and a tasty ‘honey lemon pollen’ recipe 

Updated 03 July 2025
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Recipes for Success: Alexandre Thabard offers advice and a tasty ‘honey lemon pollen’ recipe 

DUBAI: At just 26 years old, Alexandre Thabard is responsible for the pastry program at one of the most high-profile kitchens in the UAE.  

As executive pastry chef at Emirates Palace Mandarin Oriental in Abu Dhabi, Thabard manages everything from banquets and afternoon tea to the hotel’s cake shop, and has created custom desserts for members of the Abu Dhabi royal family. 

As executive pastry chef at Emirates Palace Mandarin Oriental in Abu Dhabi, Thabard manages everything from banquets to afternoon tea. (Supplied)

Originally from Paris, Thabard trained at Maison Lenôtre, where he also taught pastry courses and honed his technical skills across pastry, chocolate and ice cream. In 2018, he received the “Best Young Pastry Hope” award from Relais Desserts. 

Thabard told Arab News his goal is “to reduce sugar as much as possible and celebrate the natural flavors of each ingredient” when it comes to pastries.  

“To maintain consistency and lower glycemic impact, I often use Nascita date sugar and allulose as alternatives,” he said.  

Here, Thabard talks about learning to slow down in the kitchen, why balance matters more than sweetness, and offers a honey lemon pollen recipe.  

When you started out, what was the most common mistake you made? 

In the early days, I often found myself rushing — eager to be efficient and to see the final result. That sometimes meant I overlooked crucial steps. I’ve learned that great desserts demand patience and precision. Quality takes time. Cooking should be a joyful, sensory experience, not a race.  

What’s your top tip for amateur chefs?  

Keep it simple and let the quality of your ingredients shine. Follow the recipe and, most importantly, taste along the way.  

What one ingredient can instantly improve any dish?  

Lime, or any good source of acidity. A touch of lime zest can instantly lift a dessert, bringing balance, freshness and vibrancy. It can transform something pleasant into something memorable.  

When you go out to eat, do you find yourself critiquing the food?  

I try to enjoy the experience as any guest would, but, naturally, I tend to view things through a professional lens. 

What’s the most common issue that you find in other restaurants? 

Often, I see desserts that are visually stunning but not well-balanced in flavor. They’re either too sweet, lacking contrast, or missing freshness. For me, the priority should be flavor and emotional connection, not just presentation.  

What’s your favorite dish to order?  

I have a deep appreciation for plated desserts, especially those paired with sorbets or ice cream. The interplay of temperatures and textures — warm and cold, smooth and crisp — creates a dynamic and refined end to a meal.  

What’s your go-to pastry when you want to make something quick at home?  

A quick pavlova. I usually have baked meringues on hand, made from leftover egg whites. So, I top them with vanilla cream, fresh seasonal fruits, and a touch of lime zest. It’s a simple yet elegant dessert that delivers texture, flavor and freshness in under 20 minutes.  

What customer request most annoys you? 

When a guest asks to change a dessert entirely before tasting it, or dismisses it based on appearance. While we aim to accommodate, I believe in trusting the chef’s vision. Occasionally, I receive feedback that my desserts aren’t sweet enough, which I actually take as a compliment — it means I’ve succeeded in creating something balanced.  

What’s your favorite pastry to make?  

I particularly enjoy working with chocolate-based desserts. There’s a refined technicality and sensory depth to chocolate that allows for endless creativity — whether you’re exploring bitterness, sweetness, or contrasting temperatures and textures. I’ve had the opportunity to collaborate with (chocolate brand) Valrhona on a bespoke couverture, crafted specifically to reflect the luxury and distinct identity of Emirates Palace. The result is a unique chocolate with complex notes that elevates our plated desserts. I also work extensively with camel milk chocolate, which has become really popular in the region. Its naturally tangy flavor, combined with the use of date sugar as a sweetener, creates a beautifully balanced profile is perfect for guests seeking lighter, more mindful indulgence.  

What’s the most difficult dessert for you to get right?  

The soufflé. It’s technically demanding, time-sensitive and allows no margin for error. When executed well, it’s a true testament to skill and discipline.  

As an executive chef, what are you like? 

I’d say I’m demanding but nurturing. I believe in building strong, collaborative teams and mentoring young talent. A good dessert is often the result of a unified, motivated kitchen. My style is modern and refined, with a strong focus on health-conscious and sustainable practices — no additives, no artificial colors, and a respectful use of sugar. I aim to create pastries that are elegant, balanced, and meaningful — desserts that not only please the palate but tell a story.  

 Chef Alexandre’s honey lemon pollen recipe 

Honey sponge 

Ingredients:  

Butter: 150 g 

Egg yolks: 220 g 

Whole eggs: 90 g 

Honey: 270 g 

Sugar: 170 g 

Almond powder: 30 g 

Sour cream: 170 g 

Cream: 30 g 

Flour: 350 g 

Salt: 2 g 

Baking powder: 10 g 

Method

Whip the egg yolks, whole eggs, sugar, and honey until light and airy. 

Add the sour cream and cream. 

Incorporate the melted butter (at 45°C). 

Fold in the dry ingredients. 

Pour into a frame or mould and bake at 170°C for 18 minutes. Cool and cut to fit your insert mould. 

Honey mousse 

Ingredients:   

Milk: 72 g 

Honey: 14 g 

Egg yolk: 10 g 

Gelatin: 2 g 

Water: 9 g 

Whipped cream: 143 g 

Method: 

Soak the gelatin in cold water. 

Heat the milk. 

Mix the honey and egg yolk, then combine with the milk and cook to 83°C. 

Remove from heat and add the gelatin. 

Cool to 25°C, then fold in the whipped cream. 

Use immediately for assembly. 

Lemon confit: 

Lemon juice: 308 g 

Sugar: 115 g 

Lemon zest: as needed 

Additional lemon juice: 77 g 

Method

Blanch the lemon zest three times to remove bitterness. 

Cook the zest with sugar and lemon juice until translucent and candied. 

Blend into a smooth confit. 

Pollen shortbread: 

Icing sugar: 40 g 

Butter: 35 g 

Egg: 20 g 

Almond powder: 12 g 

Flour: 92 g 

Salt: 1 g 

Pollen: 15 g 

Method: 

Mix all ingredients until combined. 

Roll out to 2 mm thickness. 

Bake at 160°C for 12 minutes. Cool completely. 

Assembly:  

Spread a thin layer of lemon confit on the honey sponge. 

Pipe or pour the honey mousse into a mould. 

Insert the sponge with confit into the mousse. 

Freeze until solid, then unmould. 

Place the entremets on the pollen shortbread. 

Decorate with bee pollen, chocolate garnishes, and edible flower petals. 

 

 


Exhibition on animal rights in Athens spotlights Arab artists

Updated 02 July 2025
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Exhibition on animal rights in Athens spotlights Arab artists

ATHENS: An art exhibition at EMST, the National Museum of Contemporary Art in Athens, ponders a challenging yet crucial question: What are the rights of animals?

The exhibition, “Why Look at Animals? A Case for the Rights of Non-Human Lives,” curated by EMST’s artistic director Katerina Gregos, is among the most ambitious staged by a public institution on animal ethics at a time when wars rage around the world and basic human rights are in crisis.

The show presents more than 200 works by 60 contemporary artists from four continents and runs until Jan. 7, 2026.

Evocatively curated, with works unfolding in the various rooms of the museum in dialogue with the visitor and each other, the various depictions of animals prompt both philosophical and political questions.

The show evokes questions on the nature of humanity, the emotional intelligence of animals and how to confront systems of political domination, such as colonialism and rampant industrialization, that have restricted humans and animals.

From the Arab world, Egyptian artist Nabil Boutros has created “Celebrities,” a moving series of studio portraits of lambs, ewes and rams. Each image depicts not only their aesthetic beauty but seemingly also their emotional state.

Part of Nabil Boutros's 'Celebrities' series. (Supplied)

“I wanted to talk about the human condition through these works,” Boutros told Arab News. “These first portraits of (these animals) show they are different. They have different races, different attitudes and different characters, but we never look at them.”

“What is our relationship with animals? Is it just about food, about slaughtering?” he asked. “We are all part of this world and there is a whole organic structure that connects us that has been forgotten.”

Boutros’ touching portraits, exalting the personality and individuality of each animal, similar to traditional human portraiture, show us a rarely encountered world of animals and their emotional depth.

The show presents more than 200 works by 60 contemporary artists from four continents and runs until Jan. 7, 2026. (Supplied)

“They’re very expressive,” said Boutros, when discussing the moments he photographed them. “We imagine that they don’t have feelings, but that is not true.”

Algerian artist Oussama Tabti’s “Homo-Carduelis” is an installation that covers an entire wall of empty birdcages, each encompassing a speaker playing a birdsong created by human voices to imitate that of birds.

The work strives to show the connection between animals and humans. “The idea for the work came from the goldfinch, an appreciated bird in Algeria,” Tabti told Arab News.

“Born and raised in Algeria, the goldfinch was always in our daily soundscape.

“My work talks about the relation between the bird and the human because people appreciate (the goldfinch) and have it as a pet. They keep the bird in a cage and sometimes even go for a walk with it.”

Tabti finds the relationship at times “awkward and strange.” He thinks that Algerians at times “identify themselves in the birds.”

He added: “The work goes beyond the state of Algeria to reflect on the state of the human condition. Each one of us is in our own cage; it could be work, the environment or even one’s identity.

“I thought the bird in a cage would be a good metaphor for what we are today as human beings. We human beings are able to accomplish a lot but we live in a society that does not let us be completely autonomous.”

“For this installation,” said Tabti, “it was important for me that we can hear the birds, imitated by human beings, so it is like a human in a cage.”


Ghiya Rushidat’s album ‘Chasing Dopamine’ seeks to help listeners with ADHD

Updated 01 July 2025
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Ghiya Rushidat’s album ‘Chasing Dopamine’ seeks to help listeners with ADHD

RIYADH: As the awareness around neurodiversity spreads, composer and pianist Ghiya Rushidat and cognitive scientist and author Dr. Scott Barry Kaufman have co-created a genre-defying musical experience tailored specifically for people with ADHD, or attention deficit hyperactivity disorder.

Symptoms of ADHD include inattention (not being able to keep focus), hyperactivity (excess movement that is not fitting to the setting) and impulsivity (hasty acts that occur in the moment without thought).

The upcoming collaborative album, “Chasing Dopamine,” blends neuroscience, ambient soundscapes and special composition into a powerful auditory journey designed to enhance focus, emotional regulation and mental clarity.

The album cover for the upcoming meditation album. (Supplied)

“What I’m really hoping is that when people listen to this, whether they have ADHD or not, that they not only feel compassion for themselves, but they also are able to achieve their goals, or at least feel better about their day-to-day life,” Saudi Arabia-born, Jordan-raised composer Rushidat told Arab News.

Set to release this summer, the album is anticipated to be the first in a series tackling different neurotypes, including OCD and autism.

The tracks will feature guided spoken word by Dr. Kaufman, layered with original music composed by Rushidat. Each track is tailored for different ADHD states: Hyperfocus, feeling emotional overwhelmed, low dopamine, task initiation, creativity, and grounding.

“It’s more of a storytelling kind of track for each topic, rather than just one basic music track that doesn’t change or do anything. That’s more stimulating to the ADHD brain, and that just doesn’t allow you to get distracted during the meditation, but rather just be focused, because you don’t really know what to expect afterwards,” Rushidat said.

“The album, the seven tracks, take you through that process (of) overcoming brain fog, and then overcoming procrastination, and then how to ground yourself and how to feel good about yourself and not beat yourself up because you’re not getting enough things done.”

After her late ADHD diagnosis, Rushidat found that none of the existing meditation albums were compatible with her brain’s wiring. “I couldn’t sit still for five minutes or focus on my breathing at all,” she said. She decided to create her own affirmations that worked for her, prompting her interest in creating a collaborative album with Dr. Kaufman.

“ADHD comes with challenges as well as gifts. If we can help quiet the ADHD mind just enough to get into a creative flow state; there is no limit to what people with ADHD can achieve,” Kaufman said.

Considering his cutting-edge research in creativity, neurodivergence and positive psychology, and Rushidat’s award-winning background in music composition, the work aims to be a science-informed, musically immersive tool for the ADHD community.

“Of course, you don’t expect people to just heal from this. As cliche as it sounds, but ADHD is a superpower because there are so many advantages to it. Once you figure out and realize that this is what you have, then you just navigate through life with that diagnosis,” Rushidat said.

Kaufman is a professor of psychology at Columbia University and director of the Center for Human Potential.  He has written for The Atlantic, Scientific American, Psychology Today, and Harvard Business Review, and he is the author and editor of 11 books. Rushidat is a Grammy, BAFTA and Emmy voting member and has scored films, games and performed at Carnegie Hall. She works between Los Angeles, Dubai and Riyadh.