Saudi artist Mohammad Alfaraj discusses the ‘poet of visuals’ 

Saudi artist Mohammad Alfaraj discusses the ‘poet of visuals’ 
Mohammed AlFaraj with his work 'From What Bone Will We Grow Back On the First Day of Eternity.' (Supplied)
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Updated 18 October 2024
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Saudi artist Mohammad Alfaraj discusses the ‘poet of visuals’ 

Saudi artist Mohammad Alfaraj discusses the ‘poet of visuals’ 
  • The Saudi artist discusses his work that is currently on display at Art Basel Paris 

PARIS: Mohammad Alfaraj was born in the world’s largest desert oasis — Al-Ahsa — in the Eastern Province of Saudi Arabia. He is the son and grandson of date farmers.  

The 31-year-old artist was one of the participating artists in the AlUla Artist Residency in 2021, and is now showing the results of that residency for the first time as part of the “Orbis Tertius” exhibition at the Art Basel Paris international art fair, which opened Oct. 18 in Paris’ newly restored Grand Palais.  

He describes himself as “an artist and a poet — a poet of visuals.” 

“I was talking with one of the other AlUla Residency artists about this, and we agreed that both of us try to encapsulate poems and poetry into objects, poems that you can hold, and touch and feel, and smell,” Alfaraj tells Arab News. 




A still from Alfaraj's 'The Date Fruit of Knowledge.' (Supplied)

His route to becoming an artist wasn’t a straightforward one. He studied Applied Mechanical Engineering at King Fahad University of Petroleum and Minerals in Dhahran. “When I began my studies in 2011, there wasn’t much focus on filmmaking or photography in Saudi, and they were what interested me. But it was beautiful, because understanding how things work and how to build them is a relevant subject for a curious mind. One of my favorite courses was Mechanics of Materials. I learned that everything is alive, even inanimate objects emit a vibration, an energy. I wanted to complete my degree, but also to pursue my career as an artist,” he explains.  

His agricultural background has also inspired his work. 

“Growing up on a farm, it’s deeply ingrained to reuse everything we find around us,” he says. “We don’t call it ecology, we call it resources; there is no waste, no excess, nothing gets thrown away. A bird builds its nest from the things it finds lying around, bits of straw, bits of plastic. I call that ‘honestly built.’” 




'The Last Words of a Tree 2,' currently on show at Art Basel Paris. (Supplied)

A bird is the central focus of one of Alfaraj’s Art Basel installations, “The Date Fruit of Knowledge.” The stop-motion film, with narration over the top, was drawn in the sand of the palm groves of AlUla.  

“It’s the story of a little nightingale who’s trying to get all the knowledge of the world. He’s impatient; he wants everything immediately. Someone tells him the legend, ‘Each palm tree produces one date that holds all the knowledge of the world.’ So he finds a palm tree and eats every single date that it produces to hit that one date. He becomes obsessed, he wants to stop, but he cannot, he’s driven by that greed for knowledge,” Alfaraj says. 

“Finally — finally — he finds the date! And he knows everything, what is, what was, what will be. The problem is, when he knows everything, he knows everything — the good things he cannot enjoy, and the horrific things he cannot change — so this blessing becomes a curse. So the film is about this idea of getting things slowly, with time, and really experiencing the journey of life rather than instantly reaching your destination. Of course, it’s inspired by stories from the Qur’an, religious parables, folklore and mythologies around the world, so everybody can connect with it in some way,” he adds. “The ‘nightingale’ in the film is made out of dates, and he eats so many dates he almost dies. What I want to say by this is that our destruction could be by our own hands, but our salvation could be by our own hands too.”   




Untitled 4, Mohammed Alfaraj, 2023. (Supplied)

The film is presented at Art Basel against a backdrop of Alfaraj’s illustrations, and palm fronds are placed in front of the screen in the shape of a bird’s wings.  

“The paper (for the illustrations) is made from waste palm, the ink is also made from palm leaves, so the whole work is made from things that are normally discarded,” Alfaraj explains. “I like finding objects, collecting them and turning them into sculpture, or finding photographs and landscapes of places I visit and making them into something new. I think that’s awesome — finding, finding and then transforming.”  

Alfaraj still lives in the place he was born, which remains a constant source of inspiration. Last year, he built himself a home on a farm there.  




An installation shot of 'Hand,' from the 'Fossils of Time' series, Mohammed Alfaraj. (Supplied)

“It’s just a simple rectangle with a bedroom and kitchen and a studio where I work. It has a garden with date palms, mulberry trees, fig and lemon trees. I have a couple of chickens too, now.”  

When he travels abroad, he keeps his carbon footprint as low as possible, even if that means staying away from home for months at a time.  

Since the beginning of this year, he has been preparing his next exhibition in Dubai in parallel to Art Basel. He says he told his curator that he wants to be known as “an anti-SS” artist. 




 Mohammed AlFaraj with his work 'From What Bone Will We Grow Back On the First Day of Eternity.' (Supplied)

“It’s a play on words, which I always like. It means I am anti-style and anti-scale, because style and scale do not the drive the work, they are just the façade. The driver of the work should be the heart and the soul — and modesty too, humility. If the work requires a large scale, I’m happy to do that. But there is no reason to make it an objective to itself.” 

Another of his Art Basel installations — from his “Last Words of a Tree” series — is titled “From What Bone Will We Grow Back On the First Day of Eternity?”  

“I’ve used a certain part of a palm tree to make a sculpture that looks like bones, or a fossil, of a creature emerging from the earth,” he says. “I try to believe that with so much sacrifice going on, something great will happen, and hopefully, human glory will emerge; the evil and prejudices eradicated. So, I hope this work serves as an acknowledgement of everything that’s happening, but also contains a certain hope.” 


Spotify names Pakistani artist Afusic to Radar program 

Spotify names Pakistani artist Afusic to Radar program 
Updated 18 July 2025
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Spotify names Pakistani artist Afusic to Radar program 

Spotify names Pakistani artist Afusic to Radar program 
  • Breakout single ‘Pal Pal’ tops 64 million streams as artist’s listenership surges
  • Spotify says Afusic’s audience has grown over 1,200 percent since April 2025

ISLAMABAD: Spotify has named rising Pakistani musician Afusic as its featured artist for the third quarter of 2025 under its global Radar program, spotlighting the viral star’s rapid ascent in the country’s evolving music scene.

Afusic — the stage name of Affan Khan — gained widespread recognition this year after his single “Pal Pal” went viral on the platform, amassing over 64 million streams. The song’s success has placed him among a new wave of artists reshaping Pakistan’s independent music landscape.

As the Pakistani music industry undergoes a digital transformation, platforms like Spotify have played a key role in spotlighting emerging talent and connecting local voices with global audiences.

“Spotify’s Radar Pakistan returns this quarter, spotlighting Afusic as its latest featured artist,” Pakistani agency Asiatic Public Relations said in a statement on Friday. “This milestone marks a significant moment in his rapidly rising career with his viral track ‘Pal Pal’ being featured on the Radar Pakistan playlist.”

According to Spotify data shared by the agency, Afusic’s audience has surged by more than 1,200 percent since April 2025, with his music landing on nearly 270,000 playlists globally.

Streams have spiked over 440,000 percent since the song debuted in the platform’s Fresh Finds Pakistan playlist in February.

“In the past 28 days alone, the demographic breakdown of his global audience reveals a strong connection with younger listeners — 60 percent male and 40 percent female — led by the 18–24 age group, followed closely by 25–34-year-olds,” the statement said.

Afusic called the Radar selection a “huge moment.”

“Radar is an incredible platform that shines a light on independent artists and helps us reach new audiences, while also giving fans a chance to connect with who we are beyond the music,” he said. “I’m truly grateful for the support Spotify has shown me — watching ‘Pal Pal’ grow from Fresh Finds to Hot Hits Pakistan shows just how powerful this journey can be.”

Afusic joins past Radar Pakistan alumni including Hasan Raheem, Taha G, Shae Gill, and Rovalio, all of whom have gained both domestic and international acclaim in recent years.


Massive Attack, Brian Eno launch syndicate to defend artists criticizing Gaza war

Massive Attack, Brian Eno launch syndicate to defend artists criticizing Gaza war
Updated 18 July 2025
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Massive Attack, Brian Eno launch syndicate to defend artists criticizing Gaza war

Massive Attack, Brian Eno launch syndicate to defend artists criticizing Gaza war
  • Artists accuse pro-Israel groups of censorship, harassment
  • UK Lawyers for Israel wants to cancel careers, artists argue

DUBAI: British band Massive Attack, British singer and songwriter Brian Eno, Irish post-punk band Fontaines DC and hip-hop trio Kneecap have launched a syndicate to defend artists criticizing Israel’s alleged genocidal war on Gaza.

The group says these artists have been targeted by “aggressive, vexatious campaigns” orchestrated by pro-Israel groups.

In a statement shared on Instagram on Thursday, the musicians expressed concern for emerging artists who they believe are at risk of being “threatened into silence or career cancellation” by groups such as UK Lawyers for Israel.

“We’re aware of the scale of aggressive, vexatious campaigns operated by UKLFI and of multiple individual incidences of intimidation within the music industry itself, designed solely to censor and silence artists from speaking their hearts and minds,” the statement said.

“Having withstood these campaigns of attempted censorship, we won’t stand by and allow other artists — particularly those at earlier stages of their careers or in other positions of professional vulnerability — to be threatened into silence or career cancellation.”

The syndicate was announced amid mounting tensions involving the UKLFI.

The group filed a police report against Bob Vylan after the band chanted “death to the IDF (Israel Defense Forces)” during their Glastonbury set, an incident now under police investigation.

The UKLFI also filed a complaint with the BBC for broadcasting the performance, and several of the band’s upcoming shows have since been cancelled.

Mo Chara of Kneecap was also referred to authorities by the UKLFI and later charged with a terrorism offence, accused of displaying a Hezbollah flag during a live performance.

Following the report, Kneecap had several concerts cancelled.


The best TV shows of the year so far 

The best TV shows of the year so far 
Updated 18 July 2025
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The best TV shows of the year so far 

The best TV shows of the year so far 
  • Need a summertime streaming binge? Here’s what you should have seen so far in 2025 

‘Adolescence’ 

This harrowing drama, created by actor Stephen Graham (who also stars) and writer Jack Thorne and directed by Philip Barantini, will surely clean up at the next round of major awards. The story of 13-year-old Jamie Miller, accused of the murder of a schoolmate, and his family was practically flawless in every aspect, from the excellent ensemble cast (including breakout star Owen Cooper, who plays Jamie) to the extraordinary technical skill (each of its four episodes was shot in a single take). “The balletic production processes that must have been involved are simply staggering, but they suck the audience in and refuse to let them go, demanding we share in every uncomfortable second,” our reviewer wrote. “‘Adolescence’ may be one of the most upsetting shows released this year — at times, it’s excruciating — but it is also a remarkable work of art.” 

‘Severance’ S2 

The wonderfully weird world of Apple’s sci-fi comedy-drama was expanded far beyond the walls of the Lumon offices in season two, as Mark S (Adam Scott) and his team of data refiners dealt with the fallout from their successful, if brief, escape from their ‘severed’ floor — where work and out-of-work memories and personalities are controlled and delineated by a chip embedded in their brains — and alert the outside world to the cruelties of their working conditions. Season two had that same blend of surreal silliness and nightmarish anxiety that made the show so popular — as our reviewer said: “Creator Dan Erickson and director Ben Stiller waste no time in rediscovering the subtle blend of tangible oddness and sinister dystopian creepiness that made the first season such an uncomfortable joy.” “Severance” remains smart, thought-provoking, entertaining, and utterly absorbing. 

‘Mo’ S2 

The second season of Mo Amer’s semi-autobiographical comedy drama — in which he plays Mo Najjar, a Kuwait-born Palestinian refugee living in Houston, Texas, with his mother Yusra (the superb Farah Bsieso), and his older brother Sameer (Omar Elba), who’ve been waiting more than two decades to have their asylum case heard — proved that the success of season one was no fluke. Amer, our reviewer wrote, continued to explore “incredibly complex and divisive topics — family, religion, imbalance of power, exile, mental health, parenthood, multiculturalism and much more — with an artful lightness of touch, without ever taking them lightly.” The finale — in which the family finally head to Palestine for the first time in more than 20 years — was a triumph of storytelling.  

‘Black Mirror’ S7 

Charlie Brooker’s near-future-set sci-fi anthology series — which has, since its inception, proven frighteningly prophetic — continued to explore familiar themes in its seventh season, most especially the terrifying potential technology has to reshape our existence. But it did so with a slightly softer touch that suggests Brooker’s cynicism is mellowing just a little — and it was the richer for it. It doesn’t hurt that some fine actors continue to line up to feature in the show — this season saw Rashida Jones, Awkwafina, Peter Capaldi, Paul Giamatti, Emma Corrin, Issa Rae, Patsy Ferran and many more on the roster. And, of course, there was that sequel — the first in the show’s history — to a “Black Mirror” classic: season four’s “USS Callister.” 

‘Andor’ S2 

It seems a shame that what was by far the strongest of the many TV spinoffs from “Star Wars” was just two seasons long, but maybe that limitation was the reason why it was the strongest: it cut out the indulgent exposition. We already knew what was coming — at least, if you’d seen “Rogue One” you did, and if you hadn’t seen it then why on earth were you watching a “Star Wars” spinoff? Its story of a population rising up against the erosion of their rights was both convincing and timely. “With ‘Andor,’ (creator Tony) Gilroy and (star Diego) Luna have truly set the gold standard for what future “Star Wars” can be,” our reviewer wrote. “Not just a space opera, but real stories of transformation and beauty.” 

‘The Studio’ 

Apple’s star-studded comedy about a newly appointed Hollywood studio head (Matt Remick, played by Seth Grogan), who believes himself to be a supporter of great art, but quickly discovers that he’ll have to park his principles and chase the money, was as sharp a satire as you could wish to see. “Even though “The Studio” is a TV show about the movie business, it still manages to skewer both industries,” our reviewer wrote. “At every turn, Remick is confronted by the inherent silliness of the movie business, and we get to watch it in a series of episodic, bingeable installments, each bursting with cameos and a satirical swipe at everything from celebrity culture to pretentious auteurs.” 


Four of 2025’s top video games so far 

Four of 2025’s top video games so far 
Updated 18 July 2025
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Four of 2025’s top video games so far 

Four of 2025’s top video games so far 

‘Indiana Jones and the Great Circle’ 

Who doesn’t want to play the part of one of cinema’s great action heroes? And who doesn’t want to run around punching Nazis? In Bethesda’s addictive action-adventure you get to do both, controlling the titular archaeologist as he scraps and sneaks his way through a range of beautifully rendered real-world locations, solving puzzles on his way, all to thwart the bad guys.

‘Split Fiction’ 

The latest two-player action-adventure from co-op specialists Hazelight Studios is their best yet, earning well-deserved plaudits from critics and gamers alike. You and your partner play as authors Mio Hudson and Zoe Foster, who’ve been connected — against their will — to a machine that steals creative ideas and have become stuck in a world of their own stories.

‘Mario Kart World’

 

No way Nintendo could’ve launched the Switch 2 without a Mario game. And what a game it was, taking all the fun of previous “Mario Kart” editions, but introducing open-world options, off-roading skills, and an elimination mode. Oh, and the ability for up to 24 players to race at once. More than 30 years on from its launch, “Mario Kart” is still the gold standard in fun.

‘Clair Obscur:Expedition 33’ 

It has its flaws, but this bleakly moving RPG from French studio Sandfall Interactive is so ambitious in its storytelling and execution that most of them can be forgiven. You control the party known as Expedition 33 on a suicide mission to defeat the Paintress, a mysterious being who — for 67 years —  has determined the age at which people will die in the peaceful town of Lumière


Recipes for success: Chef Ross Shonhan offers advice and a tasty spaghetti mentaiko recipe 

Recipes for success: Chef Ross Shonhan offers advice and a tasty spaghetti mentaiko recipe 
Updated 18 July 2025
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Recipes for success: Chef Ross Shonhan offers advice and a tasty spaghetti mentaiko recipe 

Recipes for success: Chef Ross Shonhan offers advice and a tasty spaghetti mentaiko recipe 

DUBAI: Raised on a cattle farm in rural Queensland, Australia, and starting his working life in a butcher’s shop, Ross Shonhan is a man who knows his meat.  

After honing his cooking skills in Australia, Shonhan moved to the UK, working at Asia de Cuba and The Dorchester, before moving to the US, where he helped launch Nobu Dallas as executive chef.  

But it was his return to London — and a shift towards modern Japanese cuisine — that was a defining point in his career, Shonhan says. As executive chef at ZUMA London, he deepened his understanding of Japanese technique, and eventually founded the Bone Daddies Group in 2011, which quickly gained a following for its ramen bars and creative approach to Japanese comfort food.  

More recently, Shonhan brought his fire-driven cooking style to the UAE, founding Netsu in Dubai and Strawfire in Abu Dhabi’s Emirates Palace Mandarin Oriental — a restaurant that blends Japanese technique with bold, open-flame cooking.  

Strawfire is in Abu Dhabi’s Emirates Palace Mandarin Oriental. (Supplied)

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

Trying to overcomplicate things. When you are young and eager, you want to impress, so you layer flavors, technique or garnishes, and often forget that restraint is just as powerful. Over time, I’ve learned to trust great ingredients. 

What’s your top tip for amateur chefs?  

Taste everything as you go. It sounds basic, but it’s amazing how many people season once at the end and hope for the best. Some slow-cooked foods, for example, taste better when they’ve been seasoned throughout the process.  

What one ingredient can instantly improve any dish?  

Acid — like citrus juice or a good vinegar. Whether it’s a splash of rice vinegar in a salad or a bit of aged balsamic, acid lifts everything. It balances richness, sharpens flavors, and gives a dish structure. It’s a critical part of the seasoning process. 

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

Not consciously, but when you’ve been in kitchens and restaurants your whole life, it’s hard not to notice the details. 

Strawfire is in Abu Dhabi’s Emirates Palace Mandarin Oriental. (Supplied)

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

The biggest issue is inconsistency.  

What’s your favorite cuisine to eat?  

I tend to gravitate towards simple places that execute well. I have some great Iranian restaurants near where I live and some brilliant Thai restaurants too. So, just family-run restaurants that have been going for years.  

What’s your go-to dish if you have to cook something quickly at home? 

Rice noodles with courgette, chili and fish sauce. It’s light and heathy but very tasty. It’s actually my wife’s recipe. It’s a mid-week staple. 

What customer request or behavior most annoys you? 

I don’t mind requests. Food is personal. But I find it tough when people don’t respect the team. We work hard to create an experience, and hospitality is a two-way street. A bit of kindness costs nothing and I think you can judge a person on how they treat their waiter.  

What’s your favorite dish to cook? 

Anything cooked over fire. It connects me to my childhood in the Australian outback. There’s something timeless about cooking with flame; it strips things back to instinct and makes food taste more alive. 

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

Creating a well-made broth requires patience, balance and discipline. It takes time and skill to develop the layers of flavor. That’s also applicable to making sauces. 

As a head chef, what are you like?  

I’d say I’m direct, but not constantly shouting. Firm but fair, maybe. Kitchens are intense enough without unnecessary drama. I want my team to feel supported and clear about expectations. I value honesty, effort and curiosity, and I try to create an environment where people want to grow. 

Chef Ross’ spaghetti mentaiko recipe  

Chef Ross’ spaghetti mentaiko. (Supplied)

For the Mentaiko mixture:  

100g mentaiko                                          

30g grapeseed oil                                    

2g smoked sweet paprika powder 

For the spaghetti:  

132g mentaiko mixture 

200g butter 

320g spaghetti (dry) 

40g parmigiana (grated) 

160g cream 35% 

8g salt 

Juice from a half lemon 

Zest from a half lemon 

20g chives (finely chopped) 

8g kizami nori  

60g pasta water 

Step 1 

Place a pot with water without salt on the stove and bring it to a boil. 

Then cook the pasta according to the package directions or preferences.  

Step 2  

While the spaghetti cooks, start with the mentaiko mixture. 

The whole mentaiko comes in the roe sack which has a tough outer skin. Cut the skin in, and scrape the roe with a spoon from the skin, then add it into a mixing bowl. 

Add the smocked paprika powder, grapeseed oil and grated parmigiana in and mix everything gently with a spatula and keep it on the side. 

Step 3 

Place a pan on the stove and add the cream, salt and butter, then heat it up slowly until the butter has melted. 

Step 4 

Add the cooked spaghetti to the pan with the cream and butter mixture.  

Stir until the sauce is nice and creamy. If the sauce starts to curdle or thickens too much, add a little bit from the pasta water until the sauce reaches a smooth consistency again. 

Step 5 

Add the spaghetti and sauce to the mixing bowl containing the mentaiko mixture, add the juice of half a lemon, and mix gently. (Chopsticks or a meat fork work well for mixing this). You can add a little more pasta water If the sauce becomes too thick again. 

Step 6 

For serving, we recommend using a meat fork and a large spoon and twist the spaghetti into a nest then place it in the center of your plate. Distribute the chives and kizami nori over the spaghetti and grate a little lemon zest over it.