“I have often said that Arabic calligraphy is my first teacher, and one of the key sources nurturing my visual reservoir. Today, I fully recognize its profound role in shaping my professional journey, serving as the initial workshop where I experimented with what I call the ‘three innate conditions,‘ which have accompanied me across the various mediums I have engaged with over two decades.
The first of these conditions is understanding the sensitive relationship between mass and void, or what I have come to refer to as ‘mass and arrow’ when it pertains to the components of Arabic calligraphy. This condition, which gradually evolved into an instinctive appetite, allowed me to develop an early comprehension of composition, design, and photography, ultimately leading to an exploration of how to deconstruct and manage visual relationships in other media. Through it, I learned the importance of carefully considering the empty space before focusing on the structure of the elements themselves.
The second condition was embracing the doctrine of daily practice and repetition. Unlike most other arts, Arabic calligraphy leans toward craftsmanship, beginning with a highly structured and disciplined approach, grounded in the precise study of letter forms and their connections. This discipline turns its practice into a daily ritual, akin to exercises in meditation, breathing, or prayer, and over time, it evolves into a mental workout.
The third condition revolves around liberation from the rules and their reproduction. With Arabic calligraphy, it’s a journey that starts with a deep understanding of the rules, which then extends into a continuous self-exploration through evolving personal projects.
At the age of twelve, I began learning calligraphy under the guidance of professional calligraphers—a journey that started with passion and soon turned into work, as hand-lettering on walls and creating advertising boards, before the emergence of modern techniques, became my first profession. This was all before I joined the Faculty of Fine Arts in Damascus in 2001.
In this space, Iaim to share parts of this journey by showcasing collections of exercises and completed works. I will also share exercises from different time periods for educational purposes, allowing enthusiasts to observe the influence of these “THREE CONDITIONS” throughout this journey.