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Saudi artist San Shyn unveils mural on wall of Saudi embassy in London

Saudi artist San Shyn unveils mural on wall of Saudi embassy in London
Saudi street artist San Shyn has unveiled a bold and colorful mural in the heart of Mayfair, London, outside the Saudi Embassy. (Supplied)
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Updated 31 January 2025

Saudi artist San Shyn unveils mural on wall of Saudi embassy in London

Saudi artist San Shyn unveils mural on wall of Saudi embassy in London
  • ‘Street culture welcomes everyone as they are,’ says Saudi street artist

JEDDAH: Saudi street artist San Shyn has unveiled a bold and colorful mural in the heart of Mayfair, London, outside the Saudi Embassy.  

The piece, created in collaboration with London-based graffiti artist Cept, is part of an ongoing cultural-exchange initiative between Ƶ and the UK, and follows other embassy commissions such as Rashed Al-Shashai’s luminous sculpture in its garden.  

Commissioned by Khalid Bin Bandar Al-Saud, the Saudi Ambassador to the UK, Shyn’s mural will be on display until mid-February. 




Commissioned by Khalid Bin Bandar Al-Saud, the Saudi Ambassador to the UK, San Shyn’s mural will be on display until mid-February. (Supplied)

 The opportunity to create such a significant piece came through Stephen Stapleton, founder of Edge of Arabia, a platform known for bridging cultures through art.  

“Stephen connected us and showed some of my work to the ambassador, who was really happy with it,” Shyn tells Arab News. “I’m so happy that he allowed me to express my art as it is, in a very unique location in London.” 

The mural is a major milestone for Shyn, and came as something of a surprise.  

“In the beginning, the plan was to create many art projects and murals inside Ƶ — to be known in different cities in the country. The next step was to create something internationally, but I thought it would take longer,” she says. “I was really happy to be chosen for this project, and I hope in the future to create murals in many cities all around the world and leave a legacy.” 




A sculpture created by Saudi artist Rashed Al-Shashai in the embassy garden. (Supplied)

The creative process for the mural began in December. Shyn worked closely with Edge of Arabia and Cept to define the direction of the piece. “We discussed what kind of look and feel we wanted — something colorful, bold, and creative,” she says. She developed sketches, decided on the color palette, and refined the concept before bringing Cept into the project.  

“It was a very smooth process because Cept is a very professional artist. He implemented my work exactly as I wanted it. I’m really grateful for his participation in this project,” Shyn says. 

The mural is deeply rooted in the values of street culture — a movement Shyn has been drawn to since childhood.  

“I remember seeing someone doing a kickflip (a skateboarding trick) in a movie, and I thought, ‘What kind of sport is this?’ That led me to discover hip-hop, breakdancing, and graffiti,” she says. “Street culture welcomes everyone as they are. It doesn’t care about your background, what language you speak, or whether you’re rich or poor. That’s something I’ve always loved about it.”  

Growing up, Shyn used art as a way to process and express her emotions. She created characters to represent different feelings, a practice she continued into adulthood.  

“Whenever I had difficulty expressing certain emotions, I would create a character for that emotion. One of them, for example, was called ‘Sappy,’ which was a mix of sadness and happiness,” she explains. “When I had a job that didn’t require much creativity, I felt restricted and I realized I needed a way to express myself, and that’s when these characters became part of my art again.” 

The mural outside the Saudi Embassy embodies Shyn’s belief in the universality of street art. “Street art is a universal language. It’s not specific to a certain country or culture — anyone can understand it,” she says. “That was my intention with this mural. I wanted to create something that anyone can see and connect with, (wherever) they’re from. It should tell a story that doesn’t require words.” 

This project is part of a broader initiative by the Saudi Embassy to promote cultural exchange through art. “Ƶ is changing, and the rise of dynamic street artists like San Shyn is a great example of this,” an embassy statement reads. “Art is a bridge between cultures, and this mural demonstrates that Ƶ and the UK have more in common than we might imagine.” 

Stapleton highlighted the importance of such projects in a statement, saying: “This playful, joyful artwork … reflects a new era of cross-cultural collaboration between the UK and Ƶ. The language of art transcends the borders that divide us, and we need that language now more than ever.” 


WOOHOO, a restaurant operated by an AI chef, to open in Dubai soon

WOOHOO, a restaurant operated by an AI chef, to open in Dubai soon
Updated 2 min ago

WOOHOO, a restaurant operated by an AI chef, to open in Dubai soon

WOOHOO, a restaurant operated by an AI chef, to open in Dubai soon
  • AI ‘Chef Aiman’ to create data-driven flavour combinations
  • The restaurant that bills itself as “dining in the future” is set to open in September

DUBAI: In Dubai, your dinner might soon come with a side of source code.
WOOHOO, a restaurant that bills itself as “dining in the future,” is set to open in September in central Dubai, a stone’s throw from the world’s tallest building, the Burj Khalifa.
Food at WOOHOO will be assembled by humans, for now, but everything else — from the menu to ambience to service — will be designed by a culinary large-language-model called “Chef Aiman.”
Aiman — a portmanteau of “AI” and “man” — is trained on decades of food science research, molecular composition data and over a thousand recipes from cooking traditions around the world, said Ahmet Oytun Cakir, one of WOOHOO’s founders.

Food prepared using the recipe from "Aiman", the AI Chef is served on a plate, at the Trove Restaurant in Dubai on July 8, 2025. (REUTERS)

While Chef Aiman can’t taste, smell or interact with his dishes like a chef normally would, the model works by breaking cuisine down to its component parts like texture, acidity and umami, and reassembling them into unusual flavour and ingredient combinations, according to Aiman’s developers.
These prototypes are then refined by human cooks who taste the combinations and provide direction, in an effort led by renowned Dubai-based chef Reif Othman.
“Their responses to my suggestions help refine my understanding of what works beyond pure data,” Aiman explained, in an interview with the interactive AI model.
The goal, Aiman’s creators say, is not to supplant the human element of cooking but to complement it.
“Human cooking will not be replaced, but we believe (Aiman) will elevate the ideas, creativity,” said Oytun Cakir, who is also chief executive of hospitality company Gastronaut.
Aiman is designed to develop recipes that re-use ingredients often discarded by restaurants, like meat trimmings or fat, he said.
Longer term, WOOHOO’s founders believe Aiman could be licensed to restaurants across the globe, reducing kitchen waste and improving sustainability. (Reporting by Luke Tyson Editing by Ros Russell)


Elie Saab blends 19th-century romance with red carpet precision in fall couture

 Elie Saab blends 19th-century romance with red carpet precision in fall couture
Updated 10 July 2025

Elie Saab blends 19th-century romance with red carpet precision in fall couture

 Elie Saab blends 19th-century romance with red carpet precision in fall couture

PARIS: Elie Saab, the Lebanese designer long favored on the red carpet, returned to familiar territory on Wednesday, with fall haute couture — and did so unapologetically.

In Paris, fashion insiders gathered among marble columns as models descended a gilded stone staircase to the strains of harpsichord music, setting the tone for a collection steeped in historical romance.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Saab leaned into his signature codes: sumptuous velvets, gowns gathered at the back, and pearl and jewel-adorned chokers. Floral appliques — another hallmark — blossomed, anchoring the collection in the femininity that has defined the house for decades.

This was a particularly thoughtful collection, evoking romantic silhouettes from the turn of the 19th century in Europe. The soft draping and historical references gave the show a sense of emotional depth beyond its surface opulence.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Macaron hues — nude, rose pink, water blue, and mint — punctuated by imperial black and gold, set off bold blooms across brocade and print, infusing the collection with romantic vibrancy. Among the standout pieces were gowns with cascading trains and bejeweled details, encasing the body in a kind of luxurious cage.

Saab said the collection — dubbed “The New Court” — was “a sumptuous playground for the modern queen — one who plays by her own rules.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Though luxury and opulence may be Saab’s well-trodden path, he showed that consistency remains its own form of artistry.

Saab’s couture is less about surprise and more about control — control of silhouette, embellishment, and fantasy. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

If the show felt familiar at times, it was also undeniably polished — a standout collection that reminded audiences why Saab’s world of embellished escapism continues to resonate.

It’s a formula that keeps Hollywood coming back. Angelina Jolie, Gwyneth Paltrow, Sarah Jessica Parker, Marion Cotillard, Penélope Cruz, Charlize Theron, Emmanuelle Béart, Sophie Marceau, Beyoncé, Maggie Cheung and Diane Kruger have all stepped onto the world’s biggest stages in Saab’s gowns — a testament to a house where fantasy and glamour are always in season.


Uncovering hidden meanings with Saudi artist Lulwah Al-Homoud

Uncovering hidden meanings with Saudi artist Lulwah Al-Homoud
Updated 10 July 2025

Uncovering hidden meanings with Saudi artist Lulwah Al-Homoud

Uncovering hidden meanings with Saudi artist Lulwah Al-Homoud
  • The Saudi artist talks spirituality, geometry, and creating a new visual language

DUBAI: Despite her love for art, Lulwah Al-Homoud didn’t set out to be an artist. But last month her work — rooted in geometry, Arabic calligraphy, and deep spiritual reflection — was on display at one of Europe’s most cutting-edge digital art events. 

The Saudi artist was featured at this year’s edition of The Digital Art Mile in Basel, Switzerland, (which ran alongside Art Basel) presented by the Sigg Art Foundation. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Her featured work comes from her series “The Language of Existence”  — a reimagined Arabic alphabet that uses geometric patterns inspired by Islamic art.  

“I created different geometric shapes assigned to each letter,” Al-Homoud says. “I kind of created a new language that cannot be read, but can be felt more.”  

“The Language of Existence” is a perfect representation of Al-Homoud’s work in general. “I was always drawn to calligraphy and Islamic geometry — we all see these beautiful (writings) and patterns, but we don’t know the meaning behind them,” she says.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

It was while pursuing her master’s in arts at London’s Central Saint Martins that Al-Homoud really began to dig into that meaning, studying geometry and calligraphy inspired by Islamic art and learning how they were developed over centuries by different cultures.  

Her path to that master’s was not straightforward. “I was always an artist inside — always drawing portraits and landscapes — but I wanted to have a career,” she says. “My family, especially wanted me to be a woman who has a career and who helps her society and all that.” She gained a bachelor’s degree in sociology, and — in the late Nineties — began studying visual communication design in London before moving on to her master’s.  

Al-Homoud began her working life curating exhibitions for Middle Eastern artists and calligraphers in London, something that helped her discover her own artistic voice. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

“When I learned about the sophisticated ideas behind Islamic art and geometry, I said, ‘That’s what I want to do.’ Because I felt that it was more of a universal language and it’s also where art and science meet,” she says. “I felt I wanted to do something with meaning.   

“I wasn’t thinking of exhibiting my work at all, but someone discovered my sketches and said, ‘Your work is great. You have to show it.’ And that’s where it all began,” she adds.  

Despite that initial encouragement, Al-Homoud says it wasn’t easy to establish herself as an artist in London in the early 2000s. Partly because people often made assumptions about her before even talking to her, based on her ethnicity and religion.  

“When I did exhibitions, they would come and ask me the wrong questions — they wouldn’t look at the art and relate to it,” she says. “It took time for people to realize that artists speak a universal language. Art really brings people together, while the world (wants to impose) divisions and categorization.”

While her art may have universal appeal, it is also heavily inspired by Al-Homoud’s personal beliefs.

“I (learned about) and met a lot of people in the art field who were using this calligraphy and geometry,” she says. “I feel this kind of art really reflects your spirituality more than any other, and this is the reason why Muslim artists kept doing it for all these years,” she says. “That’s why people say (that creating) it feels peaceful.”

Al-Homoud is also focused on helping the next generation of the Kingdom’s artists. She has founded an art center in Riyadh called Isdar, dedicated to teaching fine art and printing and to inspiring young artists.

“I feel it’s my time now to give. I had an experience that wasn’t that easy — it’s much easier now for artists in Ƶ. But you need to educate them to be good artists, not just artists,” she says. “When you come to our space, you see me as a collector, as an educator, as an artist, and as a curator. I’m hoping to have a small museum in the future as well.”

Al-Homoud urges aspiring artists to be patient, and to be honest about their abilities and goals. And, most importantly, she says, “Stay humble. One of the greatest things I have learned from studying Islamic art is to be humble, no matter how successful or how big your name is.”


Recipes for Success: Chef Tomlin George Graham offers advice and a tasty jerk chicken recipe 

Recipes for Success: Chef Tomlin George Graham offers advice and a tasty jerk chicken recipe 
Updated 10 July 2025

Recipes for Success: Chef Tomlin George Graham offers advice and a tasty jerk chicken recipe 

Recipes for Success: Chef Tomlin George Graham offers advice and a tasty jerk chicken recipe 

DUBAI: Chef Tomlin George Graham began his career 16 years ago, but his love for cooking started long before that — at home in Jamaica. Graham was raised in a family where recipes and techniques were passed down through generations, and he discovered his passion for food early.  

Graham’s career has taken him across the globe, from working for Carnival Cruise Line in the US to leading kitchens in Qatar and serving as a private chef to the governor general at King’s House in Jamaica. He also played a key role in opening a Jamaican restaurant in Qatar.  

He is now based in the UAE, serving as head chef at Ting Irie, which has branches in Dubai and Abu Dhabi, and bills itself as the country’s first Jamaican restaurant and lounge. 

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

Not following recipes in the proper order. The end results were always less than ideal, but, honestly, also quite amusing. 

 What’s your top tip for amateur chefs? 

Taste frequently while cooking. It helps you understand how flavors are formed and will also help you become experienced at adjusting herb and spice amounts. Also, keep an open mind and soak up as much knowledge as you can from other cooks. 

What one ingredient can instantly improve any dish? 

Garlic. It’s rich and aromatic and it can be used in multiple forms — raw, sautéed, roasted, powdered or fermented — at different cooking stages.  

 What’s your favorite cuisine or dish to order?  

I actually tend to dine out to find inspiration for my dishes. Exploring different cuisines keeps my palette fresh and can spark creative ideas in the kitchen. Japanese cuisine, in particular, is a treasure trove. The clean but complex flavors, the seasonal ingredients, the care in presentation… it always inspires me. 

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

Fried chicken is a true delight. It hits all the right notes. It’s crispy, savory, juicy, and incredibly satisfying. The contrast between the crunchy, seasoned crust and the tender, flavorful meat is almost irresistible.  

What customer behavior most annoys you? 

I’m doing something I love, so I don’t usually get annoyed. However, customers being disrespectful or aggressive makes it harder for everyone to do their job. Customers who misunderstand their dietary restrictions can also be tricky to navigate. For instance, someone might say they’re a strict vegetarian, but then mention they eat fish — implying that they’re actually a pescatarian. 

What’s your favorite dish to cook? 

I have a few: Caribbean-style curried goat, jerk chicken and roasted fish. Each one carries unforgettable flavors, but also memories of home, family gatherings, the people I love and the moments we’ve shared together. For me, food is much more than nourishment; it’s a way of staying connected to my roots, my culture and the ones who matter the most. And that’s part of the reason why we also integrated those dishes into the Ting Irie menu. 

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

With any dish, it’s all about understanding the ingredients and how they work together. Once you get that, following the recipe becomes second nature. For me, pâté is challenging. It requires precise technique, delicate ingredients like liver or foie gras, and a time-consuming preparation process. Traditional pâtés often involve curing, baking and resting over several days.  

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

I run my kitchen with discipline and intensity. I believe a kitchen, much like the military, relies on structure, clear communication and accountability. I might raise my voice when necessary — but it’s never out of ego; it’s to uphold standards and keep the team focused during high-pressure moments. There is a deep camaraderie that forms when you’re creating under pressure, and I make sure that passion and pride are always part of the process. 

Chef Tomlin’s jerk chicken  

Ingredients

Whole chicken - 1500g 

Pimento -20g  

Scotch bonnet-10g 

Cinnamon powder -5g 

Ginger -15g 

Fresh thyme-20g 

Escallion-15g 

Garlic-10g 

White onion-10g 

Soya sauce-10ml 

Chicken spice -10g 

White vinegar -15ml 

Method: 

Remove the tail from the chicken, then cut the chicken in half vertically, having the breast, wing, thigh and leg on each half. 

Wash the chicken and set it aside  

Measure all herbs and spice and set them aside  

Wash the thyme, escallion, garlic, ginger, white, onion, scotch bonnet and add them all to a blender with 15g of pimento, 15g thyme, soya sauce, chicken spice, cinnamon and blend for 1 minute. 

Add the blended mixture to the cut chicken and gently rub and marinate the chicken until it is fully coated (for the best taste, leave to marinate for at least 24 hours before cooking). 

On the grill turn on medium heat, add the remaining 5g pimento, 5g thyme and add the chicken on grill for smoking. Close the grill and let the chicken smoke.  

Turn the chicken every 15 minutes to ensure even cooking and prevent burning, until the internal temperature reaches 165°F. 

Serve with sides of your choice. 


REVIEW: ‘Jurassic World Rebirth’ — new trio fail to match chemistry of 1993 original’s heroes 

REVIEW: ‘Jurassic World Rebirth’ — new trio fail to match chemistry of 1993 original’s heroes 
Updated 10 July 2025

REVIEW: ‘Jurassic World Rebirth’ — new trio fail to match chemistry of 1993 original’s heroes 

REVIEW: ‘Jurassic World Rebirth’ — new trio fail to match chemistry of 1993 original’s heroes 

BEIRUT: The latest installment of the ‘Jurassic World’ franchise promises a rebirth. It does not deliver.  

The film introduces a brand-new trio — covert operative Zora Bennett (Scarlett Johansson), paleontologist Henry Loomis (Jonathan Bailey), and Zora’s former comrade Duncan Kincaid (Mahershala Ali). Each brings a unique skill set as they embark on a mission to secure genetic material from three dinosaurs (one land-based, one water-based, one avian) hidden on a remote island. Along the way, they rescue a shipwrecked family. 

For the first time in years, the franchise moves away from the moral conundrums of a dinosaur-inhabited planet and returns to the contained sanctity—and danger—of an isolated island. So visually, at least, this does feel like a rebirth of the Spielberg-isms we've come to recognize. When the mood calls for awe, director Gareth Edwards’ blocking and framing work in harmony to highlight the grandeur of the dinosaurs, positioning our heroes in a humbling, almost subservient stance within this ‘alien’ world. It also nails the claustrophobic intensity required for a thriller, capturing the tension and tight pacing essential to the genre. 

Where the film falls short of its “rebirth” promise is the script, which doesn’t come close to the charm of the 1993 classic. The original trio were distinct, memorable, and full of personality. Spielberg’s attention to detail had us invested from the beginning. 

This script, written by David Koepp, doesn’t hit those same heights. It leans too heavily on formula, and the comedic beats often miss their mark.  

That said, all is not lost. With such a strong and diverse trio at its center, there’s real potential to breathe life into this rebirth. Johansson, Bailey, and Ali are all powerhouse actors, and if the series can make full use of their abilities then it might — might — be able to ignite the fresh spark it's been needing all these years.  

While the cultural and artistic value of rebooting popular franchises is up for debate, the reality is clear: they are here to stay. So filmmakers must use what worked before to its fullest potential and must also let the technological advancements propel the story in ways it could not have previously. That hasn’t happened here.