Inside ‘States of Light,’ Princess Reem Al Faisal’s photography exhibition  

Inside ‘States of Light,’ Princess Reem Al Faisal’s photography exhibition  
“States of Light,” according to a press release “explores the intersection of existence, reality and the Divine.” (Supplied)
Updated 16 January 2025
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Inside ‘States of Light,’ Princess Reem Al Faisal’s photography exhibition  

Inside ‘States of Light,’ Princess Reem Al Faisal’s photography exhibition  
  • The acclaimed photographer discusses her black-and-white imagery and her upcoming shift to color 

RIYADH: Over the past two months, a collection of black-and-white photographs taken by Princess Reem Mohammed Al-Faisal, granddaughter of the late King Faisal, has been on display at Riyadh’s L’Art Pur Foundation.  

“States of Light,” according to a press release “explores the intersection of existence, reality and the Divine.” Through her lens, Princess Reem masterfully captures the interplay between light and shadow, transforming simple moments into meditative and poetic reflections on life, spirituality, and human connection. The exhibition, curated by Christiane Ashkar and Mohammed Al Shammaery, runs until Jan. 30. 




A collection of black-and-white photographs taken by Princess Reem Mohammed Al-Faisal, granddaughter of the late King Faisal, has been on display at Riyadh’s L’Art Pur Foundation. (Supplied)

The show invites visitors on an evocative journey beginning in Jeddah at the Islamic Port — Saudi Arabia’s maritime gateway to its sacred sites — and moving through Makkah and Madinah to key locations such as Mina, Mount Arafat, Muzdalifah, the Jamarat, and the Grand Mosque. These photographs not only capture the physical spaces but also convey the atmosphere at these holy sites, allowing viewers to reflect on the sacred in the everyday. 

Art critic Laetitia Guillemin describes Princess Reem’s imagery like this: “A muffled sound, an outspoken whisper: in each image, half-lights tell a story, carrying away the voices of inner silence.”  




Princess Reem Al-Faisal at the opening of ‘States of Light.’ (Supplied)

Guillemin highlights the way Princess Reem uses light to evoke emotions and inner thoughts, revealing moments of stillness and contemplation through the simplicity of black-and-white photography. In her work, the half-light is not just a technical feature but a symbolic element that invites the viewer into a deeper space of meditation. 

“In our modern culture, we have been trained to focus upon the physical, although we see through our mind, will, and emotion. There is a spiritual dimension that is expressed through beauty and creativity. This is what I try to achieve for myself through my work,” Princess Reem has previously said. Her photography is not just about capturing an image, but about translating the unseen. “Art without spirituality is not art; it is decoration,” Princess Reem says. “The essence of life, of the human being, is spiritual.  

She describes Arabic poetry and “the rich imagery it contains” as her greatest inspiration. “Photography is a modern form of poetry, and I use it to condense complex philosophical ideas into a single image,” she says.  




“States of Light” features images from her international travels — including China, Egypt, Italy, Japan, Morocco, Syria, and the United States. (Supplied)

“States of Light” features images from her international travels — including China, Egypt, Italy, Japan, Morocco, Syria, and the United States — but it is in her depiction of the pilgrimage sites in Makkah and Madinah where the depth of her spiritual engagement is most evident. Her photographs convey not just the architectural grandeur of these locations but their profound spirituality. Through the careful manipulation of light, Princess Reem captures meditative moments of prayer and contemplation, where time seems to stand still. 

Princess Reem’s exhibition is not just a collection of photographs; it is a meditation on the eternal, a dialogue between the material and the spiritual, and a reflection of her deep-rooted connection to her cultural and spiritual heritage. As her photographs explore the divine in the everyday, they invite viewers to contemplate their own relationship with the eternal and the unseen. The absence of color invites the viewer to focus on the essence of the scene, devoid of distractions. “Black-and-white is metaphysical. It gives you the metaphysical side of art,” says Princess Reem. “People can get distracted by color and forget about the image itself, but a black-and-white photograph forces people to focus.”  

And in an era dominated by digital photography, Princess Reem remains committed to using traditional film. “99 percent of my work is on film,” she says. “The depth, the rendition of the shades, the textures… all of this is far more superior in film.”  

Despite her passion for black-and-white imagery, Princess Reem says she is currently working on a new series of color images.  

“I’ve been going around photographing Saudi Arabia in color. It will be my new focus. Currently, it’s just Saudi Arabia, but maybe other countries in the future. What I find fascinating is that color photography changes my perspective,” she says. “In black and white, my focus was on shades, shadows, and light. But (now), the color itself becomes the subject. It’s fascinating, and it’s beautiful. This shift has completely changed my approach to photography.” 

Whether photographing in black and white or in color, however, Princess Reem stresses that, first and foremost, her focus is on creating work that expresses something meaningful, not on creating something that will sell. A true artist, she emphasizes, should not be motivated by money, but by a deeper calling.  

“If my work doesn’t cost $10,000 a piece, then (people say) my work has no value,” she says. “But the concept that art is (just) a career is totally wrong.” 


Georges Hobeika hosts Arab stars at Paris Haute Couture Week

Georges Hobeika hosts Arab stars at Paris Haute Couture Week
Updated 1 min 18 sec ago
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Georges Hobeika hosts Arab stars at Paris Haute Couture Week

Georges Hobeika hosts Arab stars at Paris Haute Couture Week

DUBAI/ PARIS: Lebanese couturier Georges Hobeika showcased his Spring-Summer 2025 at Paris Haute Couture Week, with the likes of Emirati Egyptian TV personality Mahira Abdelaziz and Lebanese model Nour Rizk on hand to take in the show.

Billed as a tribute to his late mother, Marie Hobeika, the show kicked off with a series of all-black looks before transitioning into the glittering lighter-hued looks Hobeika is known for.

Lebanese model Nour Rizk outside the Georges Hobeika show in Paris. (Getty Images)

Abdelaziz was also on hand as Schiaparelli opened Paris Haute Couture Week with a dazzling spectacle titled “Icarus” under the gilded ceilings of the Petit Palais.  Gleaming gold talismans, envisioned as suns, lined the runway — a nod to the myth of the boy who flew too close to the sun, The Associated Press reported.

The collection embodied themes of risk-taking by subverting classic couture codes, daring to push boundaries. Unlike Icarus, however, this collection did not fall; it soared.

Carla Bruni-Sarkozy, Marisa Berenson and Kelly Rutherford watched Kendall Jenner and other models walk with stately grace, deliberately evoking old-school couture shows’ slow pacing.

Daniel Roseberry’s collection reimagined traditional couture codes with a provocative edge. Inspired by vintage ribbons, he turned soft hues like butter, saffron and “toast” brown into bold baroque silhouettes that disrupted tradition.

Meanwhile, designer Maria Grazia Chiuri delved into the storied archives of Christian Dior for her latest haute couture collection Monday, exploring the transformations of time, AP noted.
The accomplished spring 2025 show — one of Chiuri’s best in seasons — drew from the key silhouettes of Dior’s iconic past designers, such as Yves Saint Laurent, and infusing them with her distinct contemporary vision.

The show was a commentary on how fashion serves as a lens for understanding time.
Key inspirations included the Trapèze line, originally conceived by Saint Laurent in 1958, and Christian Dior’s Cigale silhouette from 1952, both updated with modern fabrics.


South African composer Lebo M reflects on Saudi visit, Disney hits

South African composer Lebo M reflects on Saudi visit, Disney hits
Updated 28 January 2025
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South African composer Lebo M reflects on Saudi visit, Disney hits

South African composer Lebo M reflects on Saudi visit, Disney hits

RIYADH: On his first visit to Saudi Arabia, South African music producer and composer Lebo M sat down with Arab News to discuss his storied career creating Disney hits.

Known for creating the distinctive opening chant of the “Circle of Life” from 1994’s beloved “The Lion King,” M returned to the studio for 2024’s “Mufasa: The Lion King” with a song he composed titled “Ngomso” and “We Go Together,” which he co-composed with Lin-Manuel Miranda.  

The creative talent brought his iconic sound to Riyadh on Friday, joining forces with renowned composer Hans Zimmer at the Mohammed Abdo Arena as part of Riyadh Season’s calendar of events. 

“I got the privilege of leaving (the hotel) and going to the desert and getting the sense of both worlds… I am looking at the evolution of a society of a country in less than five years (since 2018). I appreciated the fact that I came here when it appears that Saudi Arabia is opening up to the world culturally,” he told Arab News after the show.

“I love interacting with people and learning about the country through people, hanging out here and meeting with people... It feels to me like ‘wow,’ I am coming to Saudi Arabia on a new journey of Saudi Arabia that has not been exposed to the world, and that’s exciting.”

M has been in the music business for more than 40 years, starting with his first gig at 13 in Soweto, South Africa, in the midst of apartheid.

Born in 1964, he was forced into exile at the age of 16 after travelling to Lesotho to perform without an ID or passport. After being denied re-entry to South Africa, he settled in Lesotho before moving to the US.

During that time, M faced homelessness but, regardless of the hardships, he continued to pursue his passion for music.

“It never killed my dream of being somebody. When you come from where I come from, where you grew up with people that die young, that politically get arrested, I dreamed that I was going to be somebody,” said M.

“My passion was rerouted, and I discovered Lebo M, the South African artist, because I had something unique.”

His career kickstarted after meeting Zimmer, who recognized his talent and brought him on board to co-write, co-produce, and perform the soundtrack of 1992’s “The Power of One,” which led to global recognition leading to his contributions in “The Lion King.”


Fingerprints of the Syrian war: How conflict affected Syrian art

Fingerprints of the Syrian war: How conflict affected Syrian art
Updated 27 January 2025
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Fingerprints of the Syrian war: How conflict affected Syrian art

Fingerprints of the Syrian war: How conflict affected Syrian art
  • Suffering ‘often becomes a powerful catalyst for impactful creative expression in era of rebuilding,’ Syrian artist Ahmad Elias says

RIYADH: Syria, where graffiti on one of Daraa’s walls was enough reason for a 14-year civil war to break out, causing distress and misery to the people in the country and outside its borders.

The civil war shattered all parts of Syria, once a thriving society with fascinating nature and rich history, and forced millions of people to flee the country for safer, more stable societies, carrying with their documents their memories of a place they once called home.

Syrian art was one form of expression for the people since the beginning of the war and continued to be after. Whether art is written or drawn, it carries a message, an emotion, or a story.

Ahmad Elias, a Syrian artist with more than 38 years’ experience in fine arts, has lived to witness the difference before, during, and after the war.

“It is natural for the average human being to be affected by the events around him, and it is more appropriate for the visual artist to be one of those most affected by his surroundings, as he is a being who carries delicate feelings and emotions and deals with images, formation and color,” he said.

Elias was born in Dayr Atiyah, Syria in the 1950s and has several years of experience during which he displayed his art in 14 local and international galleries.

“I am from a generation of artists who were taught by pioneers of fine art in Syria in the last century, most of whom studied art in Italy and Egypt,” Elias said.

“One of the most important professors whose guidance influenced me was Professor Afif Al-Bahnasi, may God have mercy on him, who used to direct us to benefit from the Arab and Islamic heritage.”

The Syrian artist told Arab News how his style was also influenced by other artists, especially during his early years.

“In my long artistic experience, I was influenced by the great artist Mahmoud Hammad, may God have mercy on him, who was the dean of the faculty of fine arts at that time. Through numerous exhibitions and shows, I developed my experience and introduced techniques specific to my art and style,” he said.

Elias was fortunate not to be directly exposed to the disasters of war and the unfortunate events that occurred in it, yet the significance of unfolding events still left a footprint on his work.

“Although I was not directly and tangibly exposed to the disasters of war and the unfortunate events that occurred in it, it affected my artistic works in terms of color connotations and expressive symbols; despite my keenness to keep such pains away from the artistic aspect of my works, which are characterized by a special abstract language,” he told Arab News.

Furthermore, artists who lived through the war and witnessed its horrors but did not leave Syria as refugees expressed the painful scenes in their own style, Elias said.

Some artists depicted the destruction and human suffering in a realistic way, others expressed the tragedy evident on the faces, and others depicted the sadness and pain in the faces of the bereaved and the crying of women and children.

“Many artists depicted and documented in their artwork the mass displacement and asylum movement fleeing death and destruction,” he said.

“Among those who left abroad and saw the death boats, they had tragic artworks depicting the boats struggling with the waves of the sea, including the human souls of women, men, and children, and telling many tragic stories and tales about the survivors of those horrors that make the body shudder and shake every conscience.”

Describing the devastation of war, Elias said: “The events of the war and its human tragedies will remain in the conscience of the Syrians, and the tragedy of the Syrians who were wronged with all kinds of injustice, abuse, displacement and destruction will remain a stain of shame in the history of those who claim to be civilized, humane and defend human rights.”

On the other hand, Syrian art is ancient and has a distinguished history that was demonstrated by Syrian artists at the beginning of the 20th century.

Artists have documented in their artwork all the events their country has gone through, all the great and tragic forms.

From Elias’s perspective, the artist is by nature “a witness and documenter of his era,” similar to a poet or a writer, and all arts, in all their differences, meet in common and unified orientations and goals, whether visual, literary or auditory. Each artist, he said, expresses themselves in their own language.

“Syrian fine art, with its deep roots and solid foundations, remains resilient despite the years of war and turmoil the country and its people have endured. These hardships will likely serve as a source of inspiration and a drive for rebuilding and renewal. Artists, as always, will stand at the forefront, as suffering often becomes a powerful catalyst for impactful artistic and creative expression,” Elias said.

“With the fall of the former regime in Syria, now consigned to the pages of history, beloved Syria will reclaim its noble, radiant, and cultured status. The foundations of a modern Syria will be built by the dedicated hands of its honorable citizens, with the support of its Arab brothers, led by the sisterly Kingdom of Saudi Arabia and its wise and visionary leadership.”


Alia Shawkat promotes projects at Sundance Film Festival

Alia Shawkat promotes projects at Sundance Film Festival
Updated 27 January 2025
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Alia Shawkat promotes projects at Sundance Film Festival

Alia Shawkat promotes projects at Sundance Film Festival

DUBAI: US Iraqi actress Alia Shawkat is at the 2025 Sundance Film Festival in Utah, the US, to promote her latest projects.

Shawkat attended the premiere of “Atropia” on Saturday, before hitting the stage with actor Jon Hamm to discuss their Audible original series “The Big Fix: A Jack Bergin Mystery” on Sunday.

“Atropia” is a 2025 American war satire film written and directed by Hailey Gates. The film follows an aspiring actress, played by Shawkat, who works on a US military base that simulates an Iraqi war zone.

Alia Shawkat at the Deadline 2025 Sundance Film Festival Portrait Studio held at the Deadline Studio on January 25, 2025 in Park City, Utah. (Getty Images)

It is a real concept that the US military employs, with the director telling IndieWire that she “tried to make a documentary about it first.”

“So I did a lot of research and visited a bunch of the bases. Sort of working my way up the (Department of Defence), and they weren’t interested in my documentary. So then I thought it was a subject ripe for satire. I think America’s misunderstanding of the people they’re invading is inherently comedic,” Gates added.

Shawkat also stars in audio thriller “The Big Fix: A Jack Bergin Mystery,” in which Hamm plays Jack Bergin, an FBI agent turned private investigator.

The eight-part series, created by John Mankiewicz and directed by Aaron Lipstadt, is a sequel to Audible’s cinematic audio drama “The Big Lie.” The new season debuts on Audible on April 24 and tells “a riveting tale of corruption and displacement in 1950s Los Angeles,” according to Audible.

Hamm is joined by returning cast members Ana de la Reguera and John Slattery, alongside newcomers Shawkat, Omar Epps, Erin Moriarty, Jeanne Tripplehorn, Sosie Bacon, David Giuntoli and Taylor Zakhar Perez.

The series is set in 1957, when Bergin finds himself entangled in a web of power, corruption and murder that reaches local government.

In a released statement, Shawkat commented: “I’m proud to be a part of such an outstanding project, and I’m eager for listeners to immerse themselves in this captivating story we’ve crafted together. I really enjoyed playing in this era with a fast-paced, well-written mystery.”


A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam

A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam
Updated 27 January 2025
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A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam

A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam
  • Before having seen the film, the AP conducted its own investigation over six months and concluded it had “no reason to believe anyone other than Ut took the photo”

PARK CITY, Utah: After a half-century of public silence, a freelance photographer from Vietnam has asserted he took one of the most renowned and impactful photos of the 20th century — the image of a naked girl fleeing a napalm attack in South Vietnam that has long been credited to a staff photographer from The Associated Press.
Nguyen Thanh Nghe claimed authorship of the Pulitzer Prize-winning “napalm girl” photograph in the new documentary “The Stringer” and on the sidelines of its premiere Saturday night at the Sundance Film Festival in Park City, Utah.
The AP conducted its own investigation and said it has no reason to conclude that no one other than the long-credited photographer, Nick Ut, made the picture. The news agency said it was “surprised and disappointed” that filmmakers portrayed it as having reviewed the film’s materials and being dismissive. The AP said it saw the film for the first time at Sundance.
Nghe joined the filmmakers for the post-screening Q&A where he said, through a translator, “I took the photo.” The audience cheered enthusiastically. He did not say why he waited so long to make the claim.
The AP said it would review the material but wants to speak to contributors who signed non-disclosure materials for the filmmakers, including Nghe. “We cannot state more clearly that The Associated Press is only interested in the facts and a truthful history of this iconic photo.”
Investigating an image captured in the fog of war
Nguyen says he took the iconic photo of Kim Phuc on June 8, 1972. Nghe said he went to the town of Trang Bang that day as a driver for an NBC news crew and captured the image of Phuc running down the street, crying and naked with arms outstretched. He said he sold his image to the AP for $20, and they gave him a print of the photo that his wife later destroyed.
Representatives for the AP, who saw the film for the first time Saturday at the premiere, are contesting the film’s implication that the company reviewed their findings and dismissed them.
“As recently as December, we reiterated our request to see the filmmakers’ full materials and they did not respond, nor did they include AP’s full response in the film,” Lauren Easton, an AP spokesperson, said Sunday. “We were surprised and disappointed that the film portrayed AP as having reviewed the film’s materials and being dismissive of the allegations, which is completely false.”
The film’s investigation was led by husband-and-wife team of Gary Knight, founder of the VII Foundation, and producer Fiona Turner. Bao Nguyen, a Vietnamese American filmmaker, directed.
“I’m not a journalist by any stretch of the imagination,” Nguyen said. “I had a healthy skepticism, as I think anyone would, going against a 53-year-old truth. ... But as a storyteller and a filmmaker, I thought it was my both or my responsibility and my privilege to be able to uplift the story of individuals like Nghe.”
AP investigated independently
Before having seen the film, the AP conducted its own investigation over six months and concluded it had “no reason to believe anyone other than Ut took the photo.” Now, the AP is calling on the filmmakers to lift the non-disclosure agreements they placed on their subjects to allow the company to investigate more fully.
“AP stands ready to review any and all evidence and new information about this photo,” Easton said.
Knight and Turner met with AP in London last June about the allegations. According to the AP, filmmakers requested the news organization sign a non-disclosure agreement before they provided their evidence. AP would not. The film suggests that evidence was presented to the AP, which the AP says is not true.
A primary source in the film is Carl Robinson, then an AP photo editor in Saigon, who was overruled in his judgment not to use the picture by Horst Faas, AP’s Saigon chief of photos. Robinson says in the film that Faas instructed him to “make it staff” and credit Ut for the photo. Both Faas and Yuichi “Jackson” Ishizaki, who developed the film, are dead. Robinson, 81, was dismissed by the AP in 1978.
On Saturday, a Sundance Institute moderator asked why he wanted to come forward with the allegations now. “I didn’t want to die before this story came out,” Robinson told the audience after the screening. “I wanted to find (Nghe) and say sorry.”
A variety of witnesses interviewed by AP, including renowned correspondents such as Fox Butterfield and Peter Arnett and the photo’s subject herself, Phuc, say they are certain Ut took the photo.
The documentary included forensics of the scene
Robinson was one such person the AP attempted to speak to during their investigation but “were told we could only do so under conditions” that they said would have prevented them from “taking swift action if necessary.”
The film’s investigation took over two years. The journalists enlisted a French forensics team, INDEX, to help determine the likelihood of whether Ut had been in a position to take the photo. The forensics team concluded that it was highly unlikely that Ut could have done it.
Ut’s attorney, James Hornstein, had this to say Sunday after the premiere: “In due course, we will proceed to right this wrong in a courtroom where Nick Ut’s reputation will be vindicated.”
Knight referenced AP’s investigation Saturday, telling the audience that the company’s statement is available online. “They said they’re open always to examining the truth. And I think it was a very reasonable thing to say,” Knight said. “Our story is here and it’s here for you all to see.”
He added: “Things happen in the field in the heat of the moment. ... We’re all stronger if we examine ourselves, ask tough questions, and we’re open and honest about what goes on in our profession. Now more than ever, I would argue.”
“The Stringer” does not yet have distribution plans.