A limited edition collection by
Saudi Prince Artist: Sultan Bin Fahad

“Delights” by Sultan Bin Fahad is a limited-edition carpet collection that commemorates familiar phrases traditionally used during weddings and other happy occasions. The visuals used for this collection are inspired by a traditional tin box of delights with inscriptions of prosperous wishes. These boxes were historically offered to guests attending weddings. The collection represents what the artist describes as “something far, something close and something real to cherish and hold dear.”

The hands of the bride and groom’s fathers entwined to seal the promise of everlasting union, framed by red rose petals, swirling lines and colored vines stitching the edges of time, both lost and found, into the sweet bouquet of the present day. The "Delights" collection depicts a scene of unity and adoration, love upheld arm in arm. A gift of before to now, everlasting, and timeless.

Sultan’s limited-edition pieces for Terminal G are titled: Delight I, Delight II and Delight III

Connecting past to present, Sultan’s stories evoke multi-layered journey(s) between the latent relationship of what is remembered and what remains silently contained within the corporeal.

Born in Saudi Arabia in 1971. Sultan Bin Fahad’s atypical background studies in Business Administration, sets the tone to his distinctive practice. Bin Fahad considers art as a journey between intangible memories and tangible cultures. Throughout his abstract paintings, sculptures and installations bin Fahad’s central theme and object of concern remains spirituality and the material culture of Mecca in his native Saudi Arabia.

Reinterpreting histories, stories, and narratives with the use of material cultures, bin Fahad transposes these narratives to contemporary cultures as a reassessment and personal take on traditions and rituals. Themes central to his practice revolve around repetition, sound, and movement, using symbols that derive from Islam. In his ongoing photographic series, Bin Fahad invites the viewer to reflect in unconventional ways on the space between human interaction, faith, and reconstructed memorabilia(s).