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Journey to Warmth
In this painting, the artist depicts the journey of "Winter and Summer" mentioned in the Qur'an, where Syrian merchant caravans traveled south toward Mecca before continuing on to Yemen. The artwork captures the moment a Syrian merchant reaches the outskirts of Mecca at sunset—a majestic pause between trade and worship, between earth and sky, between the provisions of the journey and the nourishment of the soul.
The painting opens onto a sea of sand dunes glowing with the colors of the Hijaz, where reds and golds blend like the embers of evening. On the horizon, a Syrian caravan advances toward Mecca, where an Arab house with a distinctly Syrian character emerges, symbolizing the shared memory and human presence between the two lands. Above, abstract Islamic geometric patterns crown the scene, echoing the spirit of architecture and ornamentation common to both Damascus and Mecca —a bridge of light connecting the two civilizations.
The painting opens onto a sea of sand dunes glowing with the colors of the Hijaz, where reds and golds blend like the embers of evening. On the horizon, a Syrian caravan advances toward Mecca, where an Arab house with a distinctly Syrian character emerges, symbolizing the shared memory and human presence between the two lands. Above, abstract Islamic geometric patterns crown the scene, echoing the spirit of architecture and ornamentation common to both Damascus and Mecca —a bridge of light connecting the two civilizations.
Pact of Authenticity
This painting depicts a rare human moment of Crown Prince Mohammed bin Salman, a moment where political decision intertwines with genuine emotion. After the lifting of sanctions on Syria, he expressed his gratitude and joy toward the Syrian people in a spontaneous gesture that reflects the deep brotherhood historically connecting Saudi Arabia and Syria.
The Prince is shown embracing himself with emotion, as if holding a people bound not by borders but by heartfelt ties and a shared Arab identity. He is surrounded by Damascene decorations and authentic Arabic motifs, where symbols of pomegranates and traditional architecture mingle with vibrant colors, signaling that what unites the two countries is not mere politics but enduring heritage, culture, and Love.
This painting portrays not just a leader, but a human being who carries the concerns of his nation... and believes that great decisions are built on compassion before power, and on loyalty before words.
The Prince is shown embracing himself with emotion, as if holding a people bound not by borders but by heartfelt ties and a shared Arab identity. He is surrounded by Damascene decorations and authentic Arabic motifs, where symbols of pomegranates and traditional architecture mingle with vibrant colors, signaling that what unites the two countries is not mere politics but enduring heritage, culture, and Love.
This painting portrays not just a leader, but a human being who carries the concerns of his nation... and believes that great decisions are built on compassion before power, and on loyalty before words.
Jasmine’s Ululations
This painting celebrates a moment of human warmth, where Saudi and Levantine women gather in an old Damascene courtyard — not to converse, but to rejoice. Here, colors speak instead of words, and dances express a long-awaited longing.
Amid black abayas and the elegance of Levantine attire, the women weave a silent song of sisterhood, of laughter that crosses borders, and of hearts reuniting with long-lost sisters. Behind them, the Damascene house blooms with ornaments and flowers, as if whispering: "Welcome back, joy."
This is not a painting of a gathering... but a painting of nostalgia, jasmine, and a circle of women united not by blood, but by the warmth of the soul.
Amid black abayas and the elegance of Levantine attire, the women weave a silent song of sisterhood, of laughter that crosses borders, and of hearts reuniting with long-lost sisters. Behind them, the Damascene house blooms with ornaments and flowers, as if whispering: "Welcome back, joy."
This is not a painting of a gathering... but a painting of nostalgia, jasmine, and a circle of women united not by blood, but by the warmth of the soul.
BAYA
Homage to Baya stands as a radiant celebration of Baya Mahieddine — the groundbreaking Algerian artist whose genius was too often overshadowed by her male contemporaries. In this richly layered composition, the canvas becomes a meeting ground between past and present, between female imagination and art-historical correction.
At the center, a contemporary figure stands confidently, embodying the spirit of creative womanhood that Baya championed. Surrounding her is a dreamlike tapestry of symbols, motifs, and painterly textures referencing Baya’s unmistakable visual language — lush flora and fauna, mystical creatures, folkloric patterns, bold feminine silhouettes, and vibrant colour fields. These are echoed by subtle quotations of Western masters such as Picasso, Breton, Matisse, and Chagall — not to elevate them, but to reposition the narrative: here, Baya is not footnote, but foundation.
Traditional instruments, classical drapery, and pastoral memory converge with whimsical abstraction and modern expression, creating a harmonious dialogue between cultures and eras. The ornate border — evocative of Arab decorative heritage — frames the work like a ceremonial textile, honouring Baya’s world-building imagination and her place in the canon of global modernism.
At the center, a contemporary figure stands confidently, embodying the spirit of creative womanhood that Baya championed. Surrounding her is a dreamlike tapestry of symbols, motifs, and painterly textures referencing Baya’s unmistakable visual language — lush flora and fauna, mystical creatures, folkloric patterns, bold feminine silhouettes, and vibrant colour fields. These are echoed by subtle quotations of Western masters such as Picasso, Breton, Matisse, and Chagall — not to elevate them, but to reposition the narrative: here, Baya is not footnote, but foundation.
Traditional instruments, classical drapery, and pastoral memory converge with whimsical abstraction and modern expression, creating a harmonious dialogue between cultures and eras. The ornate border — evocative of Arab decorative heritage — frames the work like a ceremonial textile, honouring Baya’s world-building imagination and her place in the canon of global modernism.
Bune
“Bune” which means coffee beans in Arabic, Where the artist distills a rising chapter of modern Saudi life: the café as a social sanctuary. Rendered in elegant monochrome linework, the scene captures a familiar rhythm found across the Kingdom — friends gathering, conversations unfolding, the warm exchange of hospitality carried by the humble cup of coffee.
This is not merely a café; it is a modern majlis. A space where generations intersect, where tradition meets trend, and where caffeine becomes a bridge between identities. Men in traditional attire sit alongside youthful baristas and contemporary patrons, each figure immersed in quiet ritual — sipping, talking, connecting. Behind them, shelves of cups and coffee tools echo the growing sophistication of Saudi coffee culture, one rooted in heritage yet pulsing with new energy.
The composition is intentionally understated, allowing the viewer to step into the moment. There is no rush, no noise — only presence. The artwork celebrates a cultural shift: coffee as ceremony, community, and creative pulse. In today’s Saudi Arabia, the café is not escape, but expression — a place where friendships are brewed, ideas are exchanged, and ordinary evenings become cherished memories.
This is not merely a café; it is a modern majlis. A space where generations intersect, where tradition meets trend, and where caffeine becomes a bridge between identities. Men in traditional attire sit alongside youthful baristas and contemporary patrons, each figure immersed in quiet ritual — sipping, talking, connecting. Behind them, shelves of cups and coffee tools echo the growing sophistication of Saudi coffee culture, one rooted in heritage yet pulsing with new energy.
The composition is intentionally understated, allowing the viewer to step into the moment. There is no rush, no noise — only presence. The artwork celebrates a cultural shift: coffee as ceremony, community, and creative pulse. In today’s Saudi Arabia, the café is not escape, but expression — a place where friendships are brewed, ideas are exchanged, and ordinary evenings become cherished memories.
ZJAJRJ
In ZJAJRJ, beauty becomes both ritual and armor. This sculptural wall piece stages an intimate theatre of femininity: a glass emergency-case overflowing with lipstick bullets, brushes, powders, glosses, and pigments, crowned by a single crimson heel suspended defiantly to one side.
A tongue-in-cheek directive — “Break Glass in Case of Emergency” — transforms a familiar survival trope into a glamorous yet provocative commentary on modern womanhood. Here, makeup is not vanity; it is readiness, resilience, and self-possession. The artist reimagines beauty tools as essentials, not accessories — symbols of confidence, performance, and power.
Against a polished frame in vivid pinks and reds, each cosmetic item becomes a relic of identity, seduction, and social expectation. The high heel, hanging like a ceremonial weapon, completes the narrative — an emblem of elegance, dominance, and the unstoppable feminine force.
ZJAJRJ celebrates the unspoken truth: beauty is preparation, expression, and sometimes, emergency response.
A tongue-in-cheek directive — “Break Glass in Case of Emergency” — transforms a familiar survival trope into a glamorous yet provocative commentary on modern womanhood. Here, makeup is not vanity; it is readiness, resilience, and self-possession. The artist reimagines beauty tools as essentials, not accessories — symbols of confidence, performance, and power.
Against a polished frame in vivid pinks and reds, each cosmetic item becomes a relic of identity, seduction, and social expectation. The high heel, hanging like a ceremonial weapon, completes the narrative — an emblem of elegance, dominance, and the unstoppable feminine force.
ZJAJRJ celebrates the unspoken truth: beauty is preparation, expression, and sometimes, emergency response.
Impactful Shock
“Saqa’ah Sadmah” meaning impactful shock reimagines a familiar slice of modern Saudi street life through the bright, bold language of 1960s pop-art and classic comic illustration. A moment of sudden chaos unfolds: two luxury vehicles collide, one of them a Lucid — a symbol of the Kingdom’s rising industrial ambition and futuristic identity. In the foreground, two Saudi women react in astonishment, their expressions wide with disbelief and urgency, anchoring the work in human emotion and everyday realism.
Palm trees, emblazoned in electric hues of neon blue and flaming red, tower above the scene like cultural icons, rooting the chaos firmly within the Saudi landscape. Vibrant patterns and explosive comic-style bursts amplify the drama, transforming an ordinary urban incident into a cinematic tableau. The Arabic onomatopoeia — Saqa’ah! Ṣadmah! — echoes the sudden impact, reinforcing the cultural voice and rhythmic street vernacular.
Though playful in aesthetic, the painting speaks to deeper themes: the velocity of social change, the rise of modern mobility, and the dynamic interplay of tradition, innovation, and spontaneous public life. Saqa’ah Sadmah reveals a reality both humorous and relatable, capturing the spirited rhythm of Saudi streets, where luxury and unpredictability often collide.
Palm trees, emblazoned in electric hues of neon blue and flaming red, tower above the scene like cultural icons, rooting the chaos firmly within the Saudi landscape. Vibrant patterns and explosive comic-style bursts amplify the drama, transforming an ordinary urban incident into a cinematic tableau. The Arabic onomatopoeia — Saqa’ah! Ṣadmah! — echoes the sudden impact, reinforcing the cultural voice and rhythmic street vernacular.
Though playful in aesthetic, the painting speaks to deeper themes: the velocity of social change, the rise of modern mobility, and the dynamic interplay of tradition, innovation, and spontaneous public life. Saqa’ah Sadmah reveals a reality both humorous and relatable, capturing the spirited rhythm of Saudi streets, where luxury and unpredictability often collide.
Basil Magazine
Basil is an affectionate yet provocative re-awakening of childhood nostalgia reinterpreted through the lens of a modern Saudi identity. Drawing inspiration from the beloved Gulf children’s magazine “Basim”, the artist transforms the innocent characters of yesterday into contemporary figures living, dressing, and behaving in today’s Riyadh. The title itself becomes a personal signature — “Basil” — a playful reclaiming of a cultural icon to express a personal vision of a society in motion.
Set against the unmistakable skyline of the King Abdullah Financial District, the painting situates its figures at the heart of a new Saudi era. Familiar cartoon forms evolve into adults navigating a fast-changing world; their expressions, attire, and gestures mirror the energy and diversity of Riyadh’s streets. Two iconic cars — symbols of youth culture and status — glide across the foreground, while bold palm trees root the work in heritage and pride.
Rendered in vivid pop-art tones, the scene blends memory and modernity, innocence and ambition. The visual language remains playful, yet the narrative is mature: a generation shaped by global influence yet deeply tied to home. “Basil” is not merely a tribute — it is a bridge between the Saudi childhood that shaped us, and the Saudi future we are building.
Set against the unmistakable skyline of the King Abdullah Financial District, the painting situates its figures at the heart of a new Saudi era. Familiar cartoon forms evolve into adults navigating a fast-changing world; their expressions, attire, and gestures mirror the energy and diversity of Riyadh’s streets. Two iconic cars — symbols of youth culture and status — glide across the foreground, while bold palm trees root the work in heritage and pride.
Rendered in vivid pop-art tones, the scene blends memory and modernity, innocence and ambition. The visual language remains playful, yet the narrative is mature: a generation shaped by global influence yet deeply tied to home. “Basil” is not merely a tribute — it is a bridge between the Saudi childhood that shaped us, and the Saudi future we are building.
Mokhaikh
In Mokhaikh , the artist twists nostalgia and satire into a bold pop-art fable, reimagining the arcade claw machine as a macabre playground for the undead. A retro cabinet glows in vivid yellows and electric blues, its joystick perched like a relic from childhood arcades — yet here, the prize is no soft toy, but a human brain.
Suspended above a pile of cartoon-bright cerebrums, a zombie’s severed green hand descends like a hungry claw, hinting at a darkly comic universe where the undead have their own amusements. Each brain is uniquely patterned, suggesting the individuality, memory, and personality once held within. Intelligence, emotion, identity — now reduced to collectable trophies in a grotesque carnival of appetite.
Atop the machine, the title Cerebellum crowns the work in stylised Arabic calligraphy, a cerebral nod to structure and control. Beneath it, a satirical proclamation — “Everyone is a winner!” — transforms consumer optimism into a chilling mantra of mindless consumption. The aesthetic echoes vintage arcade aesthetics, infused with pop-culture vibrancy and playful horror.
Amid swirling hypnotic spirals and glossy fluorescent surfaces, the painting invites a provocative question: in a world driven by craving, who plays the game — and who becomes the prize?
Suspended above a pile of cartoon-bright cerebrums, a zombie’s severed green hand descends like a hungry claw, hinting at a darkly comic universe where the undead have their own amusements. Each brain is uniquely patterned, suggesting the individuality, memory, and personality once held within. Intelligence, emotion, identity — now reduced to collectable trophies in a grotesque carnival of appetite.
Atop the machine, the title Cerebellum crowns the work in stylised Arabic calligraphy, a cerebral nod to structure and control. Beneath it, a satirical proclamation — “Everyone is a winner!” — transforms consumer optimism into a chilling mantra of mindless consumption. The aesthetic echoes vintage arcade aesthetics, infused with pop-culture vibrancy and playful horror.
Amid swirling hypnotic spirals and glossy fluorescent surfaces, the painting invites a provocative question: in a world driven by craving, who plays the game — and who becomes the prize?
MUAY Thai of Kingdoms
Reunited Realms stages a visionary allegory of harmony between two ancient cultures, re-imagined through myth, legacy, and poetic tribute. Against a burning crimson sky etched with verses inspired by the works of Prince Khalid Al-Faisal — a poetic voice of Arabia — the canvas becomes a ceremonial stage where history, fantasy, and diplomacy converge.
On one side, a majestic hybrid steed — half-horse, half-camel — rises from the Arabian peninsula, its posture resolute, its presence dignified. This mythical guardian embodies the desert’s endurance, the Kingdom’s evolving modern identity, and the nobility of Bedouin spirit. Opposite, on an island throne framed by water and stone, sits a regal figure drawn from Thai classical mythology, adorned in intricate ceremonial armor. He stands as a counterpart, not a rival — a sovereign of tradition, spirituality, and artistic grandeur.
Above them, an iridescent phoenix arcs in flight, its wings aflame with renewal. In many cultures, the phoenix symbolizes rebirth; here, it becomes an ambassador of peace, soaring across borders and time. It bridges peninsula and island, sunset and future, earth and sky — a beacon of shared destiny.
This painting does not merely depict nations; it celebrates reconciliation, respect, and the poetic possibility of two worlds rising together after long distance. It is a tribute to culture, forgiveness, strength, and the power of shared myth to heal real histories.
On one side, a majestic hybrid steed — half-horse, half-camel — rises from the Arabian peninsula, its posture resolute, its presence dignified. This mythical guardian embodies the desert’s endurance, the Kingdom’s evolving modern identity, and the nobility of Bedouin spirit. Opposite, on an island throne framed by water and stone, sits a regal figure drawn from Thai classical mythology, adorned in intricate ceremonial armor. He stands as a counterpart, not a rival — a sovereign of tradition, spirituality, and artistic grandeur.
Above them, an iridescent phoenix arcs in flight, its wings aflame with renewal. In many cultures, the phoenix symbolizes rebirth; here, it becomes an ambassador of peace, soaring across borders and time. It bridges peninsula and island, sunset and future, earth and sky — a beacon of shared destiny.
This painting does not merely depict nations; it celebrates reconciliation, respect, and the poetic possibility of two worlds rising together after long distance. It is a tribute to culture, forgiveness, strength, and the power of shared myth to heal real histories.
Mucklisen
Mukhlisen unfolds as a hypnotic dialogue between sincerity, power, and spiritual devotion across civilizations. Set against a deep crimson forest of bamboo, a wise panda sits in meditative authority, robed in humility yet crowned with intellectual grace. Before it rests an open manuscript atop bamboo scrolls, echoing scholarship, contemplation, and a reverence for sacred knowledge.
Opposite the panda stands an imperial figure in classical East Asian attire, his posture composed yet observant. He represents worldly command, tradition, and courtly pride. Yet here, the ultimate authority is not the emperor, but the enlightened creature — a symbolic inversion where purity, sincerity (ikhlāṣ), and inner wisdom surpass inherited power.
Arabic calligraphy arcs between them like a bridge of meaning, proclaiming the sanctity of sincerity: “Mukhlisen lahu al-deen , the truth belongs to the sincere.” The interwoven Chinese text reinforces cultural duality, highlighting devotion that transcends borders, dynasties, and language.
Rendered in bold reds and earth tones, the work is both playful and profound. The panda — gentle yet monumental — becomes a guardian of truth, challenging assumptions of authority and inviting the viewer to consider where true sovereignty lies: within purity of intention, not position.
Opposite the panda stands an imperial figure in classical East Asian attire, his posture composed yet observant. He represents worldly command, tradition, and courtly pride. Yet here, the ultimate authority is not the emperor, but the enlightened creature — a symbolic inversion where purity, sincerity (ikhlāṣ), and inner wisdom surpass inherited power.
Arabic calligraphy arcs between them like a bridge of meaning, proclaiming the sanctity of sincerity: “Mukhlisen lahu al-deen , the truth belongs to the sincere.” The interwoven Chinese text reinforces cultural duality, highlighting devotion that transcends borders, dynasties, and language.
Rendered in bold reds and earth tones, the work is both playful and profound. The panda — gentle yet monumental — becomes a guardian of truth, challenging assumptions of authority and inviting the viewer to consider where true sovereignty lies: within purity of intention, not position.
Impactful Shock
“Saqa’ah Sadmah” meaning impactful shock reimagines a familiar slice of modern Saudi street life through the bright, bold language of 1960s pop-art and classic comic illustration. A moment of sudden chaos unfolds: two luxury vehicles collide, one of them a Lucid — a symbol of the Kingdom’s rising industrial ambition and futuristic identity. In the foreground, two Saudi women react in astonishment, their expressions wide with disbelief and urgency, anchoring the work in human emotion and everyday realism.
Palm trees, emblazoned in electric hues of neon blue and flaming red, tower above the scene like cultural icons, rooting the chaos firmly within the Saudi landscape. Vibrant patterns and explosive comic-style bursts amplify the drama, transforming an ordinary urban incident into a cinematic tableau. The Arabic onomatopoeia — Saqa’ah! Ṣadmah! — echoes the sudden impact, reinforcing the cultural voice and rhythmic street vernacular.
Though playful in aesthetic, the painting speaks to deeper themes: the velocity of social change, the rise of modern mobility, and the dynamic interplay of tradition, innovation, and spontaneous public life. Saqa’ah Sadmah reveals a reality both humorous and relatable, capturing the spirited rhythm of Saudi streets, where luxury and unpredictability often collide.
Palm trees, emblazoned in electric hues of neon blue and flaming red, tower above the scene like cultural icons, rooting the chaos firmly within the Saudi landscape. Vibrant patterns and explosive comic-style bursts amplify the drama, transforming an ordinary urban incident into a cinematic tableau. The Arabic onomatopoeia — Saqa’ah! Ṣadmah! — echoes the sudden impact, reinforcing the cultural voice and rhythmic street vernacular.
Though playful in aesthetic, the painting speaks to deeper themes: the velocity of social change, the rise of modern mobility, and the dynamic interplay of tradition, innovation, and spontaneous public life. Saqa’ah Sadmah reveals a reality both humorous and relatable, capturing the spirited rhythm of Saudi streets, where luxury and unpredictability often collide.
Journey to Warmth | 2025
Bune | 2024
Pact of Authenticity | 2025
Jasmine’s Ululations | 2025
Impactful Shock | 2024
Mukhlisen | 2022
MUAY Thai of Kingdoms | 2022
BAYA | 2022
Basil Magazine | 2022
Mokhaikh | 2021
ZJAJRJ
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