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RIYADH: Selected artists from the ninth cycle of Misk Art Institute’s residency program in �������� discuss their work.

Sarah Aljohani 

‘When Mud Whispers’ 

A native of the Saudi coastal city of Yanbu Al-Nakhil, Aljohani has extensive experience of restoring and building traditional mud-brick houses, and she continued that practice during her residency, researching various schools of thought about restoring buildings, from remaining entirely faithful to the original to starting from scratch and modernizing, to a middle ground that uses both traditional and modern techniques. The latter is what Aljohani favors. 

“I found this connection between family and these schools of thought in restoration — and a saying we always hear in Saudi culture: that the father is the roof of the house.” The saying alludes, she suggests, to the notion that just as a ceiling protects occupants from the elements, a father protects his family. “But that element was missing for me within my home. I had to go back, to research and understand what the concept of ceilings are in mud-brick houses in order to understand what a father is for a family,” she says. “I asked myself ‘How do I build this missing element in my ceiling? Do I build it in a traditional way like they did before?’ But I’m not a man. So I’m not able to build — in this traditional way — that missing element (of the father).”  

Aljohani’s installation is a representation of the interior of a mud-brick house, but one filled with mirrors and with frames — some empty, some holding pictures or Qur’anic verses, all coated in the same coloring as the mud walls — sourced from Riyadh’s Haraj Bin Qasim market. It is her way of encouraging women to take on leadership roles in their own style.   

Bushra Aljumah 

‘The Sound of Growing Grass Awakened Me’ 

The Saudi artist’s mixed-media installation is based around childhood memories of the sunlight striking iron window guards with floral designs, creating an image on the floor. It centers on Najdi architecture — specifically windows and doors.  

“What I found when I began my research is that a lot of it was influenced by India and Spain, but I was sure that there must have been something authentic and native to the people of Najd. So I decided to look into local farmland and the types of flowers that grow exclusively in the Najd area,” she says. Those flowers include Al-Athel, Al-Arfaj, and Calligonum. “I wanted to study the sanctity of agriculture, and how a flower is transformed from a living thing and passed down quietly throughout generations, becoming something fixed within our intangible heritage and a symbol of Najdi architecture,” she says. “This project takes a contemplative look at how things transform, how symbols are created in Najd.” At the center of the work is a metal lantern, adorned with floral designs. As the lantern spins, it reflects the design on the walls, marking the passage of time.  

Gadeer Hamed 

‘Endless Reflections, A Journey Through Sketchbooks’ 

In her installation, the Saudi artist invites audiences into her diaries. At the center of the work are 30 sketchbooks, suspended by transparent nylon string, each telling a story from her family history, including her mother’s memory of her childhood in Jeddah’s Albalad, or her father’s memories of wells that were found in his village, Mastorah, into which people used to whisper their secrets.  

The floating sketchbooks are reflected in a large mirror below, symbolizing the illusion of infinity in stories and the continuity of memories. “I used mediums including watercolor and threads because I wanted the materials to be soft, just like the recollection of old memories,” says Hamed. “Thread also represents connection and was also used by my grandmother to sew.”  

Marija Dava 

‘Garden of Forgotten Songs’ 

“I’ve been looking (into) how language is connected to the land, and how the land becomes an archive of memory, and how it becomes something tangible, and almost medicinal,” says the Lithuanian multidisciplinary artist. Her research explored ancient ritualistic practices including Ruqyah — the recitation of Qur’anic verses for healing and protection.  

Her resulting installation involved several elements, one of which was participatory — asking visitors to imagine that their language was about to disappear, and to write down a single word they would want to remember. Those words were written on calligraphy paper with ink made from saffron. “The wall becomes an archive of collective memory,” Dava says. The texts were also washed in small ceramic bowls and the water used to irrigate soil. 

“It’s about interconnectedness,” the artist says. “It’s like a full circle — a connection back to the land. That’s something that I really want to highlight in my work, because I see this as a global issue: how we are disconnected from the environment, from nature, from ourselves as well. Yes, technological advancements are great, but they’re also affecting our communication.” 

The studio also featured a wall of objects collected on Dava’s travels in Saudi, as well as a photo series based on the concept of breath. Working from the idea that God breathes life into every soul, the artist inhaled smoke and spoke, capturing the shape it made in an effort to create a visual representation of breath. The images were then silk-screen printed. She also created a sculpture based on the smoke shapes.  

Ayça Ceylan 

‘Sandland Oracle: Codes of the Ancient Future’ 

“My idea occurred to me in a dream,” the Turkish performance artist and environmental writer tells Arab News. In that dream, which occurred earlier this year, she was in the middle of the desert writing a poem in the sand. Part of the poem read: “I am the daughter of the crescent dunes/ Voice of seashells/ Vessel of codes.” Not long after, she saw Misk’s open call for the residency. “I saw the Al-Dahna Desert, which looks like a crescent, and many sand dunes inside that. Ayca, my name, means ‘crescent,’ so the first line appeared in my mind,” she explains.  

During her residency Ceylan created a multi-layered installation in which she reimagines the desert as a living archive. The center of the experience is an AI- and animation software-generated video installation showcasing an abstract depiction of the desert infused with the Arabic letter ‘noon.’ The walls of the room are decorated with sand and 3D-printed seashells modeled after shells found in AlUla.  

“I focused on the wisdom of sands and how ecology, technology, and mythology create collective feeling and a sustainable future,” Ceylan says.  

James Wagstaff 

‘What Will It Cost You If You Don’t Forgive’ 

The Muscat-based British artist wanted to focus on the topic of forgiveness in his residency. It’s a theme he’s been contemplating for the past 15 years, both personally and on a community level. “I wanted to explore that in a deeper way during this residency, through different mediums, particularly through everyday objects that we can all relate to, and maybe looking for a shared language,” he says. “So when (people from) different backgrounds and cultures, see the pieces, it will promote dialogue around the topic.” 

The installation features a video of Wagstaff throwing sand at a large fan. The particles disperse in the wind as they fly back at the artist — a symbol of the impact that holding onto anger has. 

“Every single time, (the anger we throw out) blows back and hits us. It’s only damaging and hurting ourselves,” says Wagstaff. The work also includes a sphere with knives welded onto it to show the damage that “unforgiveness” can cause. 

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The French-Kurdish artist researched how different plants survive in various climates and landscapes, particularly in the valleys of Riyadh. She focused on the native sidr tree and the acacia, which is imported. She combined this with her interest in ceramics.   

“I created some tiles inspired by farms. I did some research on ceramics, because clay is the first medium we can find in the landscape. I focused the research on glazing with ashes and natural pigments,” Kocabey says. 

Her installation features a charcoal drawing of a valley she visited during the residency, as well as plants that she researched. On another wall hangs a series of her ceramic pieces with different glaze formulations, displaying the diversity of life around us.  

DUBAI: Born and raised in Pompeii, where his family owned a fish restaurant, Roberto Rispoli’s connection to food began early — not just as a profession, but as a form of storytelling.  

“For me, becoming a chef wasn’t just about loving food — it was about what food does,” he tells Arab News. “A simple dish can change someone’s mood, spark a memory, or bring complete strangers to the same table.” 

Over the past two decades, Rispoli has refined his Mediterranean cooking style in Michelin-starred restaurants across Europe, including time spent working under the renowned chef Alain Ducasse in Tuscany and Paris. In 2013, Rispoli earned a Michelin star for Mavrommatis in Paris — then the only Greek restaurant outside of Greece to receive the honor. Now based in Dubai, Rispoli is executive chef at Jumeirah Marsa Al-Arab, where outlets include the Italian restaurant Rialto. 

“My philosophy is simple: Cook with soul, respect the ingredients, and tell a story through every plate,” he says. “Food isn’t just about taste — it’s about identity, curiosity, and bringing the world to the table.” 

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

I often found myself rushing through recipes, trying to finish as quickly as possible rather than embracing the process itself. I’ve come to learn that true mastery comes with patience and precision, two essential skills in the kitchen. 

What’s your top tip for amateur chefs?  

One of the simplest yet most effective kitchen tricks I’ve learned is soaking garlic cloves in water for a few minutes. It makes peeling effortless, saving time and frustration. Another tip I appreciate is to store a whole truffle on top of uncooked risotto rice in an airtight container for two to three days. During this time, the rice gently absorbs the truffle’s natural humidity and aroma, preserving its character while enriching the grains with its essence. When you finally cook the risotto, the result is far more nuanced — deeply aromatic, earthy, and luxurious — a true expression of how technique and patience can elevate a dish from the inside out. 

What one ingredient can instantly improve any dish?  

Parmesan — or Parmigiano Reggiano, as we proudly call it in Italy. It’s one of the most treasured ingredients in Rialto’s kitchen. It’s incredibly versatile, whether shaved over fresh pasta, stirred into a risotto, or simply enjoyed on its own. Its complexity elevates every bite. Whether you’re preparing something rustic and simple or refined and elaborate, Parmigiano has the unique ability to bring harmony, structure and unmistakable Italian identity to the plate.  

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

To a certain extent. First impressions in a restaurant are incredibly important. A warm, genuine welcome paired with a polished atmosphere sets the tone for the entire experience. I would say that around 30 percent of how I evaluate a restaurant comes from the service and ambience. They create the canvas on which the meal is painted. 

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

From a culinary perspective, I often find that chefs can fall into the trap of overcomplicating dishes, particularly when it comes to Italian cuisine, the true beauty of which lies in its simplicity — in letting exceptional ingredients shine, and in respecting tradition while expressing creativity with a light touch. Complexity should never overpower clarity. That’s where the magic of the cuisine lives. 

What’s your favorite cuisine or dish to eat? 

I’ve always had a deep appreciation for both Italian and French cuisine. Each of them is rich in heritage, yet distinct in character. One of my personal favorites from Italy is Spaghetti ai Ricci di Mare — sea urchin spaghetti. It’s a deceptively simple dish, but its intensity and purity of flavor capture the very essence of the Mediterranean. The sea urchin brings a luxurious brininess, and when paired with perfectly al dente pasta, creates something truly unforgettable. From the French repertoire, I’m drawn to dishes like Poulet à l’Albufera — delicate, refined and a true showcase of classical technique — and of course, a well-prepared beef tartare. What I love most about these dishes is the precision they demand and the balance they achieve. Whether Italian or French, it’s the harmony between boldness and restraint that continues to inspire me in the kitchen. 

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

Pollo alla Milanese — the classic breaded chicken cutlet. It’s wonderfully simple, yet incredibly satisfying. High in protein and quick to prepare, it doesn’t rely on elaborate techniques, but on quality ingredients and precision. When cooked just right — golden, crisp on the outside and tender within — it delivers comfort and flavor in a way that feels effortlessly timeless. It’s a dish that proves that elegance often lies in simplicity.  

What customer request most annoys you most? 

When guests ask to change the recipe significantly. It often disrupts the intended balance of flavors. And, more than that, it breaks the emotional connection and story behind each dish. 

What’s your favorite dish to cook and why? 

As a chef from the south of Italy, I have a deep love for tomatoes. For me, the tomato is a symbol of tradition, family and the Mediterranean way of life. What I find most inspiring is how something so humble, when approached with knowledge, care, and a touch of creativity, can be transformed into the hero of the plate. That’s the essence of great cooking — elevating simplicity into something extraordinary. 

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

Offal is one of the most technically demanding ingredients a chef can work with — and one that I deeply respect. Each type requires its own unique approach, with distinct preparation methods. To cook offal well demands skill, precision, patience and a deep understanding of culinary tradition. 

As a head chef, what are you like? 

I believe in leading with strength and heart. Discipline is essential — it creates structure and consistency in the kitchen — but I’ve never believed in leadership through fear. A kitchen should be a place of high standards, yes, but also of trust, mentorship and respect. For me, correcting a mistake is never about criticism, it is about teaching with intention. I strive to lead by example, to inspire with patience, and to guide each member of my team not only in their technical skills but in their growth as individuals. Every chef who steps into my kitchen is not just learning how to cook, they are learning how to think, how to lead, and how to take pride in the smallest details. My greatest reward is watching them evolve into confident, grounded professionals who carry integrity into everything they do. 

Chef Robert’s mezze maniche carbonara recipe  

Servings: 1 

Portions: 1 

(Contains gluten and dairy) 

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Pecorino 100g 

Egg yolk 60g 

Black pepper 5g 

Grana padano 50g 

Cream 200g 

Ventricina cooked 30g 

Other ingredients: 

Non-alcohol white wine 10g 

Extra virgin olive oil 10g 

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For the carbocream, blend all the ingredients together in a blender until smooth. 

In a separate pan, sauté the ventricina (cut into small squares) with extra virgin olive oil. Deglaze with non-alcoholic white wine and allow it to reduce. 

Meanwhile, cook the mezzemaniche pasta in boiling water until al dente. Drain and transfer the pasta into the pan with the sautéed ventricina. 

Toss everything together for a minute over low heat, then add freshly ground black pepper. Remove from the heat, stir in the carbocream, and mix well before serving. 

Plating: 

Plate the pasta in a stainless steel serving dish, then top with crispy ventricina and a generous sprinkle of grated parmesan cheese.