Recipes for success: Chef Massimiliano Blasone shares insights as L~ARIA pop up delights Riyadh foodies

Recipes for success: Chef Massimiliano Blasone shares insights as L~ARIA pop up delights Riyadh foodies
Chef Massimiliano Blasone heads the kitchen at L~ARIA and oversaw the launch of the pop-up, which runs until Feb. 26.  (Supplied)
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Updated 09 January 2025
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Recipes for success: Chef Massimiliano Blasone shares insights as L~ARIA pop up delights Riyadh foodies

Recipes for success: Chef Massimiliano Blasone shares insights as L~ARIA pop up delights Riyadh foodies
  • The head chef of L~ARIA offers advice and a tasty seafood pasta recipe 

RIYADH: Last month, the Mandarin Oriental Al-Faisaliah in Riyadh welcomed an exclusive pop-up of L~ARIA, from its sister property on the shores of Lake Como in Italy’s Lombardy region. Along for the ride was chef Massimiliano Blasone, who heads the kitchen at L~ARIA and oversaw the launch of the pop-up, which runs until Feb. 26.  

L~ARIA, according to a press release, “fuses traditional Italian dishes with strong Oriental influences. Japanese cooking practices and techniques enhance the finest seasonal ingredients…” 




L~ARIA pop-up restaurant. (Supplied)

The menu at the Riyadh pop-up includes lobster tempura, truffle taglioni and A5 Wagyu, as well as artisanal gelato for dessert.  

Here, Blasone discusses early errors, love for lemons, and comfort cuisine. 

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

Trying to add in too many elements. It just disrupts the harmony of flavors and confuses the palate. 

What’s your top tip for amateurs cooking at home? 

Base your cooking on fresh and balanced ingredients that will maintain freshness and lightness. Your dishes will then be a celebration of both those things. 

What one ingredient can instantly improve any dish? 

Lemon. It’s so versatile. You can use its lemon juice or lemon zest to add flavor to salads, to seafood dishes, and even to desserts. 

What’s the most common issue that you find in other restaurants when you go out to eat? 

A lack of communication between the staff. In the restaurant industry, mistakes are inevitable, so the real challenge lies in minimizing them through continuous refinement. The focal point of my attention is always constant training and timely communication. Communication is the key to smooth and immediate coordination: every detail, every need must be shared clearly and promptly, so that every team member is aligned towards the common goal of providing a flawless culinary experience, without hesitation or misunderstandings.  

What’s your favorite cuisine?  

I am a passionate fan of comfort food — that type of cuisine that embraces the soul. So I’m always looking for dishes that are fresh, natural, and full of authenticity — qualities that only the most genuine dishes can convey. 

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

Risotto. I’m a true Italian, and risotto is one of the most beloved and versatile dishes in our cuisine. It’s a dish that, despite its simplicity, lends itself to countless interpretations, seasons, and ingredients. 

What customer request or behavior most annoys you? 

I always try to maintain a balanced, positive attitude; that’s just my natural inclination, professionally. But I do find it quite annoying when I sense signs of impatience from guests. 

What’s your favorite dish to cook and why?   

Right now, while I’m in Riyadh, my favorite dish to cook is salt-crusted sea bass. It perfectly embodies the harmony between simplicity and sophistication. It is a dish that respects the quality of the ingredients and enhances every nuance of their flavor. 

As a head chef, what are you like? Are you a disciplinarian? Do you shout a lot? Or are you more laid back? 

I’d say that, as a head chef, I’m the result of all the experience gained from working with professionals of great precision and discipline. I think my leadership is based on a foundation of rigor, but, at the same time, I firmly believe in the importance of serenity and clear communication, and, above all, balance. 

Chef Massimiliano’s maccheroncini with shellfish recipe 




Chef Massimiliano’s maccheroncini. (Supplied)

(Serves 6) 

Dry pasta maccheroncini  

400 gr  

Ingredients: 

Lobster Bisque 

Lobster meat 

Shrimp meat 

Spring onion 

Tomato coulis 

Tomato concasse 

Sun-dried tomatoes 

Almond pesto 

For the Bisque: 

Ripe tomatoes 

Celery 

Carrots 

Onion 

Fennel 

Double concentrated tomato paste 

Leeks 

Non alcoholic white wine 

Garlic 

Shells (lobster carcasses) 

Basil 

Thyme 

Instructions: 

Roughly chop the vegetables. 

Toast the lobster heads. 

Sauté the vegetables and garlic. 

Deglaze with non alcoholic white wine. 

Add the tomatoes and the toasted lobster heads. 

Add ice and water to cover, along with the aromatic herbs. 

After 45 minutes, remove the shells and vegetables and strain the bisque through a fine mesh strainer. 

Let the bisque reduce over low heat, then strain it again through a fine mesh strainer. 

Tomato Coulis (for 1 portion): 

Ingredients: 

Date tomatoes (300g) 

San Marzano tomatoes (300g) 

Spring onion (100g) 

Garlic cloves, without the germ (20g) 

White onion (80g) 

Instructions: 

Chop the spring onion and white onion finely. 

Crush the garlic cloves. 

Sauté the garlic, then add the tomatoes, cut into large pieces. 

After 40 minutes, add salt to taste. 

Remove the garlic and infuse the basil in the sauce for 10 minutes. 

After 10 minutes, remove the basil, then blend the mixture using a Thermomix (or similar blender), adding extra virgin olive oil slowly in a thin stream while blending. 

Almond Pesto 

Ingredients: 

Cow’s ricotta (300g) 

Toasted, skinless almonds (150g) 

Confit tomatoes with thyme (30 pieces) 

Vegetable broth (200g) 

Garlic clove, without the germ (1 piece) 

Maldon salt (3g) 

Cooked basil, squeezed dry (150g, from cooked basil) 

Extra virgin olive oil (200g) 

Instructions: 

Prepare the broth by simmering carrots, celery, and onions that have been charred. 

Blanch the garlic 3 times in boiling water, using 3 different pans each time. 

Blanch the basil, then cool it in ice water and squeeze out any excess moisture. 

Combine the liquids (which should have been previously frozen as a cream), along with the confit tomatoes, almonds, garlic, and salt. 

Finally, add the ricotta, making sure not to overheat the mixture. 

Place the mixture in the Pacojet and freeze it. 

Blue Lobster Cooking Method 

Ingredients: 

1 kg Blue Lobster 

100g Leek 

100g Carrot 

100g Celery 

80g Fresh Parsley 

100g Lemon Juice 

10g Black Peppercorns 

Procedure: 

Prepare the vegetable broth: In a large pot, combine the leek, carrot, celery, and parsley. Add water and bring to a gentle boil, allowing the vegetables to release their flavors and aromas. Season the broth with black peppercorns and lemon juice for a delicate balance of freshness and heat. 

Cook the lobsters: Once the broth is simmering, carefully tie the lobsters in pairs, securing them upright to maintain their shape during cooking. Gently immerse the lobsters into the boiling broth and cook for exactly 5 minutes, ensuring the flesh remains tender yet firm. 

Cool and extract the lobster meat: After 5 minutes, immediately remove the lobsters and allow them to cool in the cooking liquid to preserve their flavor. Once cooled, carefully extract the lobster meat from the shells, preserving the delicate flesh. Store the lobster meat in the refrigerator until ready for use, ensuring it remains fresh and juicy. 

Dish Preparation 

Use a sauté pan made of stainless steel, with a height of 7 cm and a diameter of 20 cm, to allow for perfect emulsification of the pasta. Begin by gently sautéing the garlic in extra virgin olive oil, making sure not to burn it, to extract the flavors in a balanced way. Next, add a finely chopped mix of confit tomatoes, along with a spoonful of fresh tomato concassé, peeled and seeded, for a touch of freshness and sweetness. Cook gently over low heat, allowing the flavors to blend harmoniously. 

Deglaze with a slight splash of lime juice to add freshness and a subtle acidity. At this point, add the lobster bisque and allow it to reduce gently until a rich, flavorful sauce forms. Then, incorporate the tomato coulis, which will add an additional layer of freshness and depth to the sauce. 

Add a handful of chopped parsley, a few finely sliced basil leaves, and a small pinch of Espelette pepper, which will provide a mild spicy note without overwhelming the other flavors. Keep the sauce warm so it can meld together perfectly. 

Meanwhile, bring a pot of salted water to a boil for cooking the pasta. Cook the pasta al dente, then drain it and transfer it directly into the sauce, stirring gently to allow the pasta to absorb the flavors. If necessary, add a bit more lobster bisque to adjust the sauce's consistency. 

Remove from heat and add the previously cut lobster meat, making sure the residual heat warms it through without overcooking. Finish the dish with a final sprinkle of fresh parsley, a drizzle of extra virgin olive oil, and a squeeze of lemon juice to balance and enhance all the flavors. 

Pomodori Confit Preparation 

Ingredients: 

1 kg San Marzano tomatoes 

100 g Extra virgin olive oil 

100 g Fresh basil 

60 g Fresh thyme 

80 g Garlic, in the skin 

Procedure: 

Blanch the tomatoes: Bring a large pot of water to a boil. Immerse the San Marzano tomatoes for about two minutes. Once the time has passed, quickly remove the tomatoes and transfer them into ice water to stop the cooking process and preserve their color and freshness. 

Peel and seed the tomatoes: Carefully peel the tomatoes, removing the seeds as well to obtain a clean pulp, ready for slow cooking. 

Prepare for the confit cooking: Arrange the tomatoes, well-spaced, on a steel baking tray. Drizzle with extra virgin olive oil, add the garlic cloves (still in their skin), a few fresh basil leaves, and sprigs of thyme to create an aromatic bouquet that will enhance the flavor. 

Slow cooking: Place the tray in a static oven set to 70°C (160°F) for a prolonged period of 6 hours, allowing the tomatoes to slowly dehydrate and concentrate their flavors without overcooking. 

Cooling and storage: Once the cooking is complete, let the tomatoes cool in the tray, then store them in the refrigerator to preserve their freshness and delicate flavors. 

 

 

 


A celebration of Saudi Arabia’s artisanal heritage 

A celebration of Saudi Arabia’s artisanal heritage 
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A celebration of Saudi Arabia’s artisanal heritage 

A celebration of Saudi Arabia’s artisanal heritage 
  • The Ministry of Culture has designated 2025 as The Year of Handicrafts. Here, Arab News highlights some of the Kingdom’s most significant traditional crafts 

Al-Khous 

While palm trees are famed for providing dates, which play such a significant role in traditional Khaleeji hospitality, the plants themselves are equally important in Arabic heritage. The tree trunks and leaves were commonly used to create temporary or permanent accommodation, and Al-Khous — the weaving of palm fronds — is one of the oldest regional handicrafts. Bedouins would use the technique to create baskets, bowls, mats, tablecloths, brooms, and bags to be carried by their camels. The palm leaves are dried out in the sun, then cut (to ensure all thorns are removed) and soaked before being dyed, if required, and then sewn together. It’s a painstaking process, that requires great attention to detail and a steady hand.  

Bisht  

This traditional long cloak, traditionally made from wool, was originally worn by Bedouins in winter, but is now an important part of the regional wardrobe for special occasions including weddings, graduations, and Eid. These days, most bishts are machine-made, and a high-quality, hand-tailored bisht is seen as something of a status symbol, having become the formal wear for politicians and other high-ranking individuals in the Gulf and beyond. 

Al-Ahsa, in Saudi Arabia’s Eastern Province is renowned for its bisht tailoring, and many of the products are known by the names of the families who have made them for generations, including the Al-Qattan, Al-Kharas, Al-Mahdi, and Al-Bagli. Each tailor has their own thread (zari) design. 

Speaking to Arab News a few years ago, one Al-Ahsa tailor, Abu Salem, said: “Black bishts with gold stitching are the most popular. In the early Nineties, new colors were introduced to the bisht market. Blue, grey and maroon are mostly worn by the younger generation. The older generation sticks to the traditional black, brown and cream.  

“Tailoring bishts is an art that requires accuracy and skill. The gold embroidery requires patience and takes many hours,” he continued. “Hand-making one of these bishts could take from 80 to 120 hours and four tailors, each with one specific task.” 

Sadu weaving 

This ancient tribal craft dates back centuries. Bedouin Sadu weavers would create tightly spun tent awnings, rugs and more in a variety of colored patterns for their tribes using dyed wool, hair or fur woven on a floor loom. These days, Sadu patterns are commonly seen on clothing and interior décor. Speaking to Arab News in 2021, Mohammed Khoja, founder of clothing brand Hindamme, said that Sadu and its range of patterns “reflects an element of storytelling because it says so much about the livelihoods of the early Arabs. It comes in many forms in various colors, so it’s incredibly inspiring. I knew that I wanted to reference it in my designs. I wanted to reflect its beauty in a more contemporary format.” 

Dr. Delayel Al-Qahtani, director of the studies and research department at Atharna, a social enterprise dedicated to Arabian culture and handicrafts, told Arab News: “Al-Sadu is a craft that requires innovative skills and a lot of effort, as the weaver has to work hard to transform the raw material into something new. It is an intricate craft that requires precise hand movements. The final product is always a beautiful design.”  

Henna tattooing 

The practice of applying henna — a reddish-brown dye made from dried, powdered leaves of the henna tree — to the body was recently added to UNESCO’s Intangible Cultural Heritage List, thanks in large part to the efforts of Saudi Arabia’s Heritage Commission. Henna has been used to dye skin, hair and fingernails since for millennia, dating back at least to the time of the ancient Egyptians.  

A report from the Saudi Press Agency at the time henna was added to the UNESCO list stated: “Henna has great cultural significance in Saudi Arabia, with the art mastered by women and passed down through generations. It represents ‘joy and optimism’ and is a social tradition that strengthens community bonds.” 

Pottery 

Midianite pottery dating back more than 1,500 years has been discovered in northwestern Saudi Arabia, and it’s clear that pottery has a long and distinguished history in the Gulf in general. Cooking pots, cups and utensils are among the most common items crafted by traditional potters, and clay pots, especially, play a vital role in the region’s culinary heritage. As a recent Saudi Press Agency report stated: “The slow and even distribution of heat enhances the dishes cooked in (them), such as madhbi and mandi.” Local authorities in Jazan and other regions have been organizing workshops and courses to encourage the younger generation to keep this tradition alive. 

Sword and janbiya making 

The crafting of weaponry is another centuries-old skill that is being preserved in various areas of the Kingdom. The Najran region, in particular, is famed for producing some of the most stunning ornamental swords and janbiya (short, curved daggers). What were once necessities for desert tribesmen are now generally for decoration only, but the artistry required to produce them remains the same and is a source of great pride in the Kingdom and the wider Arabian Gulf. The daggers are generally “made from iron, with handles of animal horn, often adorned with silver or gold,” according to a recent SPA report. Carvings on the hilts and sheaths are often used to depict the owner’s tribal background. The finest examples can cost thousands of dollars. 


‘Dubai Bling’ season 3: A rollercoaster of drama, fashion and unfinished business 

‘Dubai Bling’ season 3: A rollercoaster of drama, fashion and unfinished business 
Updated 8 min 56 sec ago
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‘Dubai Bling’ season 3: A rollercoaster of drama, fashion and unfinished business 

‘Dubai Bling’ season 3: A rollercoaster of drama, fashion and unfinished business 

DUBAI: Here we go again. It’s season three of “Dubai Bling,” featuring jaw-dropping opulence from the extravagant lives of the rich and sort-of famous. And from the very first episode, the drama is ramped up with the kind of intriguing revelations that keep viewers hooked. 

The new season features returning cast members Loujain Adada, Zeina Khoury, Mona Kattan, Ebraheem Al-Samadi, Safa and Fahad Siddiqui, Farhana Bodi, and Marwan Al-Awadhi (aka DJ Bliss) and his wife Danya Mohammed. Media personality Mahira Abdel Aziz and Iraqi singer and actress Jwana Karim are new faces, bringing fresh energy and conflict, particularly as the latter already has history with a couple of the regulars. 

One of this season’s standout moments is Safa’s quirky farewell party for her car. She also showcases her playful personality by bringing her daughters to her office and setting up a ball pit. Mother and daughters all wear coordinated outfits, complete with matching heels.  

Safa’s humor and charisma once again shine through, making her one of the most entertaining personalities on the show. 

This season also delves deeper into DJ Bliss and Mohammed’s journey to improve their marriage and wraps up a few long-running conflicts, including Khoury, Safa and Bodi’s ongoing tensions, and Adada and Karim’s years-long fight. Although it then leaves viewers hanging on a few other issues, so it’s safe to assume we’ll see a fourth season. 

Often, though, the show’s emotional arcs feel overly staged (even by reality TV’s standards). It’s not always clear that these people are really friends, rather than unconvincing actors playing friends. Al-Samadi’s hijacking of a pregnancy announcement, for example, seems wholly contrived in order to provoke a reaction. 

Visually, at least, the show remains stunning, showcasing high-end fashion, striking makeup, and sculpted hairstyles. Every frame is luxurious.  

Ultimately, “Dubai Bling” offers entertaining escapism. Fans will once again enjoy the glitzy aspirational glamor, but those seeking authenticity should look elsewhere. 


Saudi author Samya Al-Harbi discusses new book ‘Not Like Other Women’ 

Saudi author Samya Al-Harbi discusses new book ‘Not Like Other Women’ 
Updated 20 min 4 sec ago
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Saudi author Samya Al-Harbi discusses new book ‘Not Like Other Women’ 

Saudi author Samya Al-Harbi discusses new book ‘Not Like Other Women’ 
  • The Saudi entrepreneur has compiled the inspirational stories of 12 Arab women  

DUBAI: Dubai-based Saudi entrepreneur and author Samya Al-Harbi tells the stories of resilient Arab women, including herself, in her new book “Not Like Other Women.” 

“The women around me have inspired me. Friends, colleagues, family, women I met in my work, in my troubles. I believe every woman has a story,” Al-Harbi tells Arab News. 

“(My book) talks about women who have struggled in life and faced so many difficulties, and they overcome those struggles and difficulties, and they become wiser. These are women who have really challenged themselves to become stronger.” 

“Not Like Other Women” is by Samya Al-Harbi. (Supplied)

“Not Like Other Women” features 12 stories of such women interspersed with Al-Harbi’s own experiences of balancing her personal and professional life. One of the most emotional and challenging chapters to write, she says, was “Munifa.” 

“The story was very emotional for me because I always thought Munifa was my friend’s mother and never doubted it. But on the night of her funeral, I found out she wasn’t his real mother; she was actually his mother’s neighbor and best friend. What touched me the most was the strong friendship between the two women and the loyalty they showed to each other. It’s a bond that truly moved me.” 

When asked if there was any pushback when it came to telling these personal stories, Al-Harbi is quick to point out that, in fact, the opposite happened. 

“There are women who want to tell the world their story. Society doesn’t accept discussion of sensitive issues when it comes to women and their feelings, especially in the Arab world,” she says. “So, they always need women who have the ability to take their stories to an audience and tell them that there are women who face these problems, but fight to overcome them.  

Samya Al-Harbi. (Supplied)

“As a woman, as a mother — as a grandmother now — I believe that, with the position I have now, it's my responsibility to talk about these issues.” 

While putting the stories together for “Not Like Other Women,” Al-Harbi noticed a common thread. “I have traveled a lot, and I have seen so many women in different cultures and countries,” she says. “I noticed that we share most of these issues. If I'm talking about a lady in China, she has the same problems as a lady in Africa. We have certain problems in common, whether it is finance, respect, passion… These problems remain the same no matter where we are from.” 

As an example, Al-Harbi pointed out Indian-American author Chitra Banerjee Divakaruni’s “The Palace of Illusions,” a retelling of the Indian epic “Mahabharat,” from the point of view of Panchaali, the wife of the legendary Pandava brothers. 

“The message I got from her book is that women are facing the same problems they did 3,000 years ago. Still. We are being treated the same way. So, will that change? I don't think so. Yes, it's not like before, and yes, it will take time. But still there are women afraid to come out and express their feelings or talk about their issues. In fact, when I gave these stories to the publisher, there were three that they deleted. They said, ‘No, you cannot publish these stories because they’re very sensitive, and society will not accept this kind of story yet.’” 

The Makkah-born businesswoman, who also acts as a mentor to up-and-coming entrepreneurs, said she has one piece of advice for all the young women she speaks to, including her daughters.  

“They have to keep on dreaming, but, at the same time, they have to work on their dreams,” she says. “They should not listen to anyone if they believe that what they are doing is right for them and for other people — without crossing the line, especially here in the Arab world.” 


‘La Haine’: 30 years after release, film’s depiction of urban Parisian struggle still starkly relevant

‘La Haine’: 30 years after release,  film’s depiction of urban Parisian struggle still starkly relevant
Updated 16 January 2025
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‘La Haine’: 30 years after release, film’s depiction of urban Parisian struggle still starkly relevant

‘La Haine’: 30 years after release,  film’s depiction of urban Parisian struggle still starkly relevant

La Haine (1995)

Mathieu Kassovitz’s “La Haine” is a gripping and raw exploration of social alienation, systemic inequality and the simmering tensions within the marginalized suburbs of Paris. Released in 1995, the film remains a starkly relevant examination of urban discontent and a powerful critique of the societal structures that perpetuate cycles of violence and despair.

Set over 24 hours in the lives of three young men — Vinz (Vincent Cassel), Said (Said Taghmaoui) and Hubert (Hubert Kounde) — the film captures the aftermath of a violent riot sparked by police brutality. As they navigate the streets of their impoverished banlieue, their stories intertwine to reveal the frustrations, dreams and anger that define their existence. Through their perspectives, Kassovitz crafts an intimate yet universal portrait of disenfranchised youth and the volatile relationship between marginalized communities and authority.

Shot in stark black-and-white, the cinematography underscores the bleakness of the trio’s environment while lending the film a timeless quality. The visual aesthetic, coupled with Kassovitz’s tight direction, creates a visceral sense of tension that permeates every scene. The use of long takes and dynamic camerawork immerses viewers in the characters’ world, capturing both its oppressive monotony and moments of unexpected beauty.

What makes “La Haine” so impactful is its ability to balance social commentary with deeply human storytelling. Each of the three protagonists represents a different response to their shared reality: Vinz is angry and impulsive, seeking vengeance; Hubert is introspective, yearning to escape through boxing; and Said, the joker, tries to diffuse the tension with humor. Together, they form a complex and relatable dynamic, reflecting the diverse ways people cope with systemic oppression.

The film does not offer easy solutions or didactic moralizing; instead, it forces viewers to confront uncomfortable truths. Kassovitz examines the cyclical nature of violence and its roots in economic disparity, racism and institutional neglect. The tension between the characters’ personal agency and the societal forces that constrain them creates a narrative that is as thought-provoking as it is emotionally resonant.

Nearly three decades after its release, “La Haine” remains a cinematic landmark.


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

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