Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 
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Updated 05 September 2024
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Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

DUBAI: The Riyadh-born, New York-based contemporary artist Sultan bin Fahad has been creating artworks since childhood. But, he says, he didn’t know that’s what he was doing for a long time.  

“I always felt like I had a certain creativity in me,” he tells Arab News. “I was making what I called ‘things.’ But it was a hobby, you know? I thought it was like interior design — decorating my room. I didn’t know it could be considered art.” 

At the time, bin Fahad was focused on building a career in the navy and on taekwondo. He had realistic hopes of competing in the 1992 Olympics in Barcelona, he says. But a series of injuries put paid to both of those dreams, and left him wondering what to do next.  

He ended up studying business in San Francisco, where his accommodation was close to an art academy.  

“I’d pass by and see their work; that was the first time I was exposed to modern and contemporary art. And I realized, ‘Oh. So whatever I’ve been doing is probably considered some sort of art.’” He laughs. “That’s how I became aware of my ability to create artworks.” 

He has become known particularly for his intricate and colorful beaded works, often created by artisans from the Hausa tribe in Nigeria.  

“They have an interesting story,” he says. “They are Muslims, they study the Qur’an. But they kept the language of their tribe. They know all about Saudi. You can actually find descendants of the same tribe in Jeddah and Makkah. Back in the day, they travelled or went for Hajj and they never left. They stayed there for three or four generations.”  

Beyond the physical side of his work, however, he says the most important thing is that each piece tells a story.  

“I always say my medium is storytelling. I hate it when you show someone something and they say, ‘OK, what am I looking at?’ That means you definitely failed to show any emotion in your work. Like, I still make abstract paintings, and there is basically nothing to say about them. But people forget that there is an emotion when you look at something: you might feel happy, you might feel sad, you might be attracted to the colors. But if you look at any piece and you don’t get any idea in the first 10 seconds, then I failed.” 

Here, bin Fahad talks us through some of his most significant works. 

‘Delights III’ 

This series, “Delights,” came about during COVID lockdowns. I collect a lot of found objects, because they inspire me. I’d found these small gift boxes that used to have candy or nuts in. They come with different phrases on them, like, “May your day be filled with happiness and joy.” And there’s always a picture of shaking hands. The handshake is a universal gesture. And during COVID, we didn’t have that. People didn’t shake hands. Some people didn’t even see anyone. It was a dark time. So I thought, “OK, what if we had something in people’s homes, to give joy and a little hope?” First of all, I did a series of beaded works, and they were shown in an online art fair. Then this friend of mine who is a carpet maker had the idea of making carpets designed by artists from the GCC. And they chose me to represent Saudi. So, I designed this carpet. It’s this whole concept of hopeful, beautiful work that you can see every day and can give you good energy. It’s not an artwork; it’s part of the house. It’s living with you. 




‘Delights III’ 

 

‘Desert Kite’ 

This was created for Desert X AlUla. AlUla is so beautiful. You can’t compete with it. So I wanted something that would basically separate you from the environment; something with walls, so you don’t know what’s around you and you can basically listen to the environment — to silence. 

I have this fascination with history and heritage. There are these very interesting structures around the north west of Saudi and the south of Jordan: desert kites. The first time they discovered them was, I think, during World War Two. They were flying over them. You only can see them from above. And I wondered what their purpose was. Some people say that they’re prehistoric animal traps from thousands of years ago, so my intention was to create something telling that story, so that little blue-green object inside? That’s like the bait — food or water. That makes the animal go inside. Then they’re trapped. And inside the sculpture (on the walls) are a lot of mythical animals: the Medusa, the eagle, the Sphinx — and they’re all trapped in there too. And inside you can sit and actually listen to silence, which is very unusual in a place that is open like that. It’s very interesting. 

One thing I really liked with this work was people’s interpretation of it. A lot of people said it looked like a keyhole — so it was the key to another culture or civilization; or it was the key between the sky and the Earth. I liked how people became their own curator. I’m happy to have people interpret my work the way they see it — as long as they get something out of it.  




‘Delights III’ 

‘Window’ 

This was for my project “The Red Palace.” It’s one of my dearest projects. It made me comfortable with what I’m doing. This was my first real installation work, and my first time really doing something conceptual — almost like theater. And it was my first project with the Hausa artisans. And it’s dear to me because it’s a building I was really inspired by — I always used to walk past it as a kid and I always loved it. It defined architecture in Riyadh and it’s central to the history of Saudi Arabia, whether as a royal palace or as a government building. Everything from the Forties or Fifties to the Nineties was run from that palace.  

The whole idea started with Diriyah Season. They wanted to do an exhibition, and I had this idea of doing a performance called “The Royal Dinner.” During that time, King Saud had three chefs, and they’d have a set menu. People think that, in Saudi Arabia at that time, it was all Bedouin. But no, we had sophistication. But nobody talks about it, and it’s not in in books. So I wanted to recreate this royal banquet to celebrate those behind the scenes; the labor that people don’t know about. I submitted this idea to the Ministry of Culture, and they approved it. So then I went and visited the palace, and I was like, “OK, this is much bigger than my idea, why don’t we expand it?” So we did a lot more, including “Window,” which has actually now been acquired by the Guggenheim Abu Dhabi. It’s another dear work to me, because each window was reclaimed from a region of the Kingdom. And it’s backlit, so it shows you how beautiful it would feel to be in those houses with those windows. And it unifies all the regions into one. Like a lot of my work, it’s also nostalgic. When you see those windows, you think back: “Oh, I remember the time when we were kids and playing here and there.”  




‘Window’ 

‘Trust’ 

These chairs were thrones for my “Red Palace” project. When I was looking into doing some beaded work — I wanted to do something in Africa, generally — I didn’t know how to get a contact. I saw I had an Instagram follower from Nigeria. I had no idea who she was. I just DM’d her, and asked if she knew anyone who could make beading work in Nigeria. She said she didn’t, but she could look into it. And she found someone. I showed them what I wanted to do — this was for “The Red Palace” — and while I was doing that, she messaged me and said: ‘Can I ask you a question? Why did you trust me to do this?’ I said, ‘Well, if you want something done, you have to trust someone.” Otherwise I’d have to have travelled myself, you know? When I told the curator this story, she said, “We have to call that piece ‘Trust.’” Because that’s what it was based on. This collaborative work we did, with workmanship like this, they don’t know how to create something new; they just work on what they know — they bead chairs traditionally. I needed to see if they could do it the way I wanted it to be. But that first collaboration led to a lot of other pieces, because they were open to the idea of doing it in a different form. That’s where the trust came from.  




'Trust'

‘Masallaci’ 

This work is very dear to me. It’s a giving-back-to-the-community work. It’s a beautiful story. During the time when I was doing “The Red Palace” and “Trust,” the Hausa people that were working with me, they work in a village next to Abuja in Nigeria. When they have work, they travel there from their villages and they rent part of the place they’re working in for accommodation. I asked them where they prayed. It kind of made me feel like responsible, like I needed to support the community that was working for me. So, I asked them to decorate part of the place they were working in as a mosque — in their own way, their own traditions, their own language; the writing you see is the Hausa language, not Arabic — in exchange for me renting the space for them, to pray and live and work, for a whole year. Everything inside the mosque is beaded, except the floor. Even the furniture. And they sent a turban for me — you can see it in the picture, a little white turban. The imam of the mosque in Nigeria wears this turban, so this was their gift for me. It’s one of my favorite works. And it was really a collaboration; they designed it themselves, I just gave them the idea. 

‘Laser’ 

This project was called “GWPOW” — which stands for Gulf War Prisoners of War. It’s about the Gulf War, but it’s also relevant to what’s happening now in Gaza. It’s about how life is stolen from kids who become soldiers when they’re supposed to be playing and living. They don’t take the decision, somebody else does.  

I was 19 during the first Gulf War. I wanted to volunteer but I couldn’t, because of my injuries — I’d just had my second knee surgery. So I ended up volunteering as a translator. I went and saw the prisoners of war. Some of them were younger than me. They were, like, 16. They didn’t know what they were fighting for. They were just pushed into the war.  

So this project was about the war, but it’s also thinking about those kids. They were supposed to be playing, not fighting. So I was thinking, ‘How can I portray those kids living during that time, in the desert, waiting to fight or to be killed?’ So this project became, like, a playroom for grownups. A recreation center in a war zone — everything is kind of childish. This is one of maybe six paintings I did as part of it, along with beaded works. It’s a pencil drawing, but there’s some collage on it, and some abstract painting, and some ink, so it’s mixed media. So the guy holding the lightsaber, that helmet looks like Darth Vader, but it’s not. It’s the helmet of Saddam Hussein’s Fedayeen corps. And I imagined these kids thinking of being a superhero.  




'Laser'

‘Possession’ 

I saw these people at the Prophet’s Mosque in Madinah. At certain times they open it for women, and they allow people to go privately. I was there with my mom and my family and there were screens, and there were these ladies touching the screens. And to me, it felt like, for them, they were in the highest stage of being possessed by religion, in a good way. Feeling invulnerable. They felt like they are connecting with the Prophet. I mean, I don’t know what it meant to them. I don’t know why they were doing it, but it felt so passionate. And it touched me. I felt like, if it gives them satisfaction, let them do it. It felt surreal to me — but I felt their passion.  

‘Once Was A Ruler’ 

This is a combination of different antiquities that were in the National Museum. I was working there at the time. I wanted to talk about something that is taboo. A lot of people think that these pieces are statues of gods. That’s why they’re hidden away. But at that time, these civilizations were not making big sculptures of their gods, they were making them of themselves. They were a sign of power. So I made it look like an X-ray, and I put human bones on it to show that they are human. They were once a ruler, yes, but a person, not a god.  




‘Once Was A Ruler’ 

‘R III’

“R III” means Ramses the Third. I did this in Egypt, at the Pyramids of Giza. Like with AlUla, this is a place I am in awe of. Like, I can’t compete with nature or with history, so I tried to work with it, complementing the place without actually trying to put my force or my creative energy in it. I was humbled in these places. So, I can’t compete with the Pyramids, but I tried to make something inspired by them. When you look at it from above, you see it has the seal of Ramses the Third. That seal has been found near AlUla, and that means he was probably there — not for fighting, but probably exploring, looking for copper or something — because the pharaohs wouldn’t usually let their seals be carried by others. So I wanted to show this bridge between Ancient Egypt and Saudi Arabia.  


Budget Saudi bags four prestigious awards

Budget Saudi bags four prestigious awards
Updated 1 min 25 sec ago
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Budget Saudi bags four prestigious awards

Budget Saudi bags four prestigious awards

Budget Saudi, the Kingdom’s leading car rental company, has been commended for its commitment to delivering world-class transportation and logistics services.

It bagged four honors at the 2024 World Business Outlook – Endorsing Excellence Awards, spotlighting the company’s ongoing efforts to transform the Saudi transportation sector.

Budget Saudi received the award for “Best Customer Experience Services in Transportation and Logistics in Saudi Arabia.”

Three members of the company’s leadership team were also recognized with individual leadership awards.

The honor highlights Budget Saudi’s ongoing work to curate memorable journeys and experiences for its customers and consumers around the Kingdom.

Leveraging a state-of-the-art fleet of over 38,000 vehicles and an extensive network of close to 100 retail stations across 30 cities, Budget Saudi is firmly established as the largest rental and leasing network in the Middle East and North Africa.

Held on Nov. 2 at Marriott Marquis, Queen’s Park in Bangkok, the ceremony brought industry leaders from around the world together to celebrate the outstanding achievements of exceptional leaders across a diversity of markets and sectors. 

The gathering also shone a light on the accomplishments of Budget Saudi leadership team.

Fawaz Danish, president and Group CEO, received the “Excellence in Transformational Business Leadership in Saudi Arabia” award.

Dr. Mohammed Ravish Tatli, Group CFO, was named the “Best CFO in Merger & Acquisition in Saudi Arabia.”

Anil Mathew Abraham, VP Operations, Sales & Marketing, was commended as the “Most Efficient Marcom Leader in Saudi Arabia.”

Fawaz Abdullah Danish, president & Group CEO, Budget Saudi, said: “With our history in Saudi Arabia tracing back nearly five decades — being the first publicly traded car rental company in the Kingdom — we are as deeply rooted in the country as we are deeply committed to empowering the people, communities and businesses we serve with world-class services.

“We are so pleased to have been recognized by the World Business Outlook – Endorsing Excellence Awards. Not ones to rest on our laurels, we look forward to raising our standards even more and contributing to the development of the Saudi transportation industry. We are honored, thankful and inspired to do even better — today, tomorrow and in the years to come.”

Budget Saudi said its success at the awards builds on the company’s recent acquisition of Auto World — one of the major car leasing companies in Saudi Arabia.

Budget Saudi said that it “underlines the company’s commitment and leadership team’s drive and vision to achieve unprecedented growth, creating a legacy of innovation in the transportation industry.”

To learn more about Budget Saudi and its sustainability initiatives, visit: https://www.budgetsaudi.com


UK says it respects ICC independence as court issues arrest warrants

UK says it respects ICC independence as court issues arrest warrants
Updated 3 min 30 sec ago
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UK says it respects ICC independence as court issues arrest warrants

UK says it respects ICC independence as court issues arrest warrants
  • PM Keir Starmer’s spokesperson said: “We remain focused on pushing for an immediate ceasefire to bring an end to the devastating violence in Gaza”

LONDON: Britain respects the independence of the International Criminal Court, Prime Minister Keir Starmer’s spokesperson said on Thursday, after it issued arrest warrants for Israeli Prime Minister Benjamin Netanyahu, his ex-defense chief and a Hamas leader.
“We respect the independence of the International Criminal Court, which is the primary international institution for investigating and prosecuting the most serious crimes of international concern,” the spokesperson told reporters.
“There is no moral equivalence between Israel, a democracy, and Hamas and Lebanese Hezbollah, which are terrorist organizations. We remain focused on pushing for an immediate ceasefire to bring an end to the devastating violence in Gaza.”


The road to COP16: synergy among conventions paves the way for Riyadh

The road to COP16: synergy among conventions paves the way for Riyadh
Updated 9 min 42 sec ago
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The road to COP16: synergy among conventions paves the way for Riyadh

The road to COP16: synergy among conventions paves the way for Riyadh
  • Khaled Al-Abdulkader: Land degradation impacts agricultural systems, soil fertility, and climate stability
  • Al-Abdulkader: If you invest $1 in land restoration, the returns can reach up to $30

BAKU: As the world looks ahead to COP16 in Riyadh, a clear message is emerging from discussions at COP29 in Baku: addressing global challenges requires breaking down silos between conventions on land, climate, and biodiversity. These three pillars are deeply interconnected, and their integration is essential for building a sustainable future.

The importance of land degradation is a recurring theme, with experts pointing to its role as both a symptom and a driver of broader environmental crises.

Land degradation not only diminishes biodiversity but also reduces agricultural productivity and undermines climate resilience, leading to an estimated $10 trillion in annual economic losses, according to the Economics of Land Degradation Initiative.

COP16 aims to position land rehabilitation at the forefront of global environmental policy by emphasizing its cross-cutting role in achieving sustainable development goals.

The intersection of land, climate, and biodiversity

In an interview with Arab News, Khaled Al-Abdulkader, CEO of Saudi Arabia’s National Center for Vegetation Cover Development, underlined the significance of restoring degraded lands as a cornerstone of integrated environmental action.

“Land degradation impacts agricultural systems, soil fertility, and climate stability. Restoring land not only enhances biodiversity and carbon sequestration but also offers significant economic benefits, creating opportunities for local communities,” he said.

Al-Abdulkader highlighted how Saudi Arabia is implementing initiatives that directly align with the objectives of the UN’s three major conventions: the UN Convention to Combat Desertification, the Convention on Biological Diversity, and the UN Framework Convention on Climate Change.

Projects such as mangrove restoration and ecosystem rehabilitation illustrate how land restoration can simultaneously support biodiversity, reduce carbon emissions, and provide financial returns.

“If you invest $1 in land restoration, the returns can reach up to $30. This demonstrates how land-based solutions can address not only environmental challenges but also economic and social priorities,” he added.

Nature-based solutions: a transformative investment

A panel discussion at the Saudi Pavilion during COP29 also shed light on the potential of nature-based solutions in tackling land degradation and its associated impacts. These involve human interventions that emphasize existing facets of healthy ecosystems.

Astrid Schomaker, executive secretary of the Convention on Biological Diversity, stressed that sustainable land use and rethinking agricultural practices are critical. “Nature-based solutions, when implemented with societal and environmental safeguards, yield outstanding returns. They represent a transformative investment for both ecosystems and communities,” she remarked.

Schomaker called for agriculture to shift towards more sustainable practices, recognizing its dual role as a contributor to and a victim of environmental degradation. This aligns with the broader push for nature-based solutions that can mitigate climate change, conserve biodiversity, and ensure food security, all while fostering economic resilience.

Saudi Arabia’s role on the global stage

As the host of COP16 in December, Saudi Arabia is poised to bring innovative frameworks to the table. Al-Abdulkader noted that the Riyadh conference will feature groundbreaking initiatives, including the introduction of thematic days focused on land, agricultural systems, innovation, and people.

The Kingdom has already demonstrated its leadership through its commitment to restoring vegetation cover and promoting sustainable land use. Such efforts align with Saudi Vision 2030, which prioritizes environmental sustainability alongside economic diversification.

The need for global synergy

COP16 in Riyadh will serve as a platform to enhance collaboration across borders, ensuring that land degradation, biodiversity loss, and climate action are addressed in tandem.

“We need to foster more synergy among the conventions,” Al-Abdulkader emphasized. “This includes not just technical cooperation but also mobilizing financial resources, improving institutional capacities, and ensuring that every stakeholder — from governments to local communities — is involved.”

The call for enhanced cooperation was echoed by Manual Pulgar-Vidal, former president of COP20, who emphasized the need for actionable targets that integrate the efforts of all three conventions. “The Riyadh conference will be an opportunity to launch a comprehensive action agenda that ensures land restoration remains a global priority,” he said.

The road ahead

With the road to COP16 now clearly mapped out, the focus is on uniting nations, organizations, and individuals to address the challenges of land degradation and its ripple effects. The discussions at COP29 have laid the groundwork for a future where land restoration is recognized not only as an environmental necessity but also as an economic opportunity.

The Riyadh conference promises to be a milestone in global environmental cooperation, with the potential to set new standards for integrating land, biodiversity, and climate objectives.


Lebanon says 22 killed in Israeli strikes on east

Lebanon says 22 killed in Israeli strikes on east
Updated 13 min 4 sec ago
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Lebanon says 22 killed in Israeli strikes on east

Lebanon says 22 killed in Israeli strikes on east
  • “Israeli enemy” strikes on five areas in Baalbek killed a total of 22 people, the ministry said

BEIRUT: Lebanon’s health ministry said Israeli strikes on several locations in the eastern Bekaa Valley killed 22 people on Thursday, with state media reporting four family members killed in one village.
“Israeli enemy” strikes on five areas in the Baalbek region killed a total of 22 people, the ministry said in separate statements, with the National News Agency reporting that a strike on the village of Maqneh killed at least four members of the same family.


Russia fires what appears to be intercontinental ballistic missile at Ukraine, Kyiv says

Russia fires what appears to be intercontinental ballistic missile at Ukraine, Kyiv says
Updated 49 min 50 sec ago
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Russia fires what appears to be intercontinental ballistic missile at Ukraine, Kyiv says

Russia fires what appears to be intercontinental ballistic missile at Ukraine, Kyiv says
  • Western officials, who spoke on condition of anonymity, later told Reuters their initial analysis showed it was not an intercontinental ballistic missile
  • Regardless of its classification, the latest strike highlighted rapidly rising tensions in the 33-month-old war

KYIV: Ukraine said Russia fired what appeared to be an intercontinental ballistic missile at the city of Dnipro on Thursday, in what would be the first use in war of a weapon designed to deliver long-distance nuclear strikes.
Western officials, who spoke on condition of anonymity, later told Reuters their initial analysis showed it was not an intercontinental ballistic missile, though they left open the possibility that conclusion could change.
Regardless of its classification, the latest strike highlighted rapidly rising tensions in the 33-month-old war.
Ukraine fired US and British missiles at targets inside Russia this week despite warnings by Moscow that it would see such action as a major escalation.
Security experts said that if Thursday’s strike involved an intercontinental ballistic missile, it would be the first use of such a missile in war. ICBMs are strategic weapons designed to deliver nuclear warheads and are an important part of Russia’s nuclear deterrent.
“Today there was a new Russian missile. All the characteristics – speed, altitude – are (of an) intercontinental ballistic (missile). An expert (investigation) is currently underway,” Ukrainian President Volodymyr Zelensky said in a video statement.
Ukraine’s foreign ministry urged the international community to react swiftly to the use of what it said was “the use by Russia of a new type of weaponry.”
The Ukrainian air force said the missile was fired from the Russian region of Astrakhan, more than 700 km (435 miles) from Dnipro in central-eastern Ukraine. It did not specify what kind of warhead the missile had or what type of missile it was. There was no suggestion it was nuclear-armed.
Asked about the air force statement, Kremlin spokesman Dmitry Peskov told reporters to contact Russian military for comment.
Ukrainska Pravda, a Kyiv-based media outlet, cited anonymous sources saying the missile was an RS-26 Rubezh, a solid-fueled intercontinental ballistic missile with a range of 5,800 km, according to the Arms Control Association.
The RS-26 was first successfully tested in 2012, and is estimated to be 12 meters (40 ft) long and weigh 36 tons, according to the Center for Strategic and International Studies (CSIS). It said the RS-26 can carry an 800-kg (1,765-pound)nuclear warhead.
The RS-26 is classified as an ICBM under a nuclear arms reduction treaty between the United States and Russia, but it can be seen as an intermediate-range ballistic missile when used with heavier payloads at ranges below 5,500 km, CSIS said.