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Kinda Hibrawi Interview
A.T. You are trained in the intricate art of Arabic calligraphy. Can you talk about your educational background in this traditional art form and help us trace its evolution from your school days to your current ‘modern’ stylistic approach?
K.H. I became captivated with the art form when I saw the paintings of Iraqi calligrapher Hassan Massoudy while waiting for my annual checkup at the Dhahran Hospital in Dhahran, Saudi Arabia where I grew up. His watercolor paintings interpret the writings of international poets, including Lebanese Khalil Ghibran. Before then, I had never seen calligraphy outside of the traditional styles. I was moved by his use of color and elongated lines. That summer, at the age of 14, I enrolled in calligraphy classes in Syria where I studied with a master calligrapher daily. He showed me everything from how to cut bamboo stick to use as a pen to how to prepare the inks. He also taught me the rules for the major calligraphic writing styles. This training served as a great base for me to take the script to the next level. Now, I prefer a free style type of calligraphy, one that doesnt follow any script rules. My study in graphic design and illustration in college has helped to further my interest in deconstructing calligraphy to simply a design element in my work.
A.T. Do you feel, through your work, you are continuing the historical role of Arabic calligraphy as a symbol of Arabic and Islamic culture?
K.H. Yes, but I am also continuing my American culture. I often use one word in my work and this reflects the West’s simple and direct approach to things. Living in Southern California has influenced my usage of bright colors in my paintings. As an artist it is important for me to convey both cultures in my work as it represents who I am. I spent my childhood in the Middle East and my adulthood in the U.S. It is also important for me to focus on the positive rather than the violence of the Middle East as is so often portrayed by the media. My paintings reflect the beauty of calligraphy through my own artistic interpretation.
A.T. So then your work is charged with socio-political implications, as with many other Middle Eastern and Muslim artists living in America who are producing engaging artwork to address negativity and misunderstanding surrounding their identity. Can you further elaborate on how as an artist you are negotiating politics with aesthetics?
K.H. I think as artist you always have to take a political stance. As an Arab living my adult life in the United States and with everything going on I feel that I wouldn’t be true to myself if it were any other way. If someone is curious about the region, often times my work opens a dialogue. I feel it is my duty to reach out in a positive way. We need it now more than ever. You can make an impact just by making conversation.
A.T. How do you pick your subject matter?
K.H. I have to become inspired by a word or phrase. We often take language at face value, but it has great power. For example, Al-Haq, the Truth, the word has many layers and strong tonal vibrations. In Arabic, Truth can mean Justice, Perfection, The Only One, or even God (Allah). I strive to convey this complexity of the Arabic language through my paintings.
A.T. How are you received in the American contemporary art scene? Since calligraphy is not widely known what are some of your challenges?
K.H. Because it is different it raises curiosity. At first it is viewed from a design perspective and then the viewer realizes it has meaning, so their perception shifts and they become more engaged and interested in the piece.
A.T. We recently briefly spoke about your latest Arab national anthem project. Can you shed more light on that?
K.H. You know, sometimes you start something and you don’t know the journey it is going to take you. I was passionate about the idea of uniting the Middle East “under one roof” so to speak that if united the region would be a powerhouse. The words in the national anthems were just that, verses full of pride and hope. I did research on the national anthems of each Arab country. As I was reading them, I realized the similarities and amongst these words. I decided I would create an exhibition that would portray my vision through a series of paintings. I chose verses from 17 major Arab countries, each painting representing a country.
A.T. Your work has previously emphasized spirituality. Why the shift to a nationalistic tone?
K.H. I created a painting for UNICEF right after the 2006 Lebanese war started. The original painting is now in the Arab American Museum in Michigan. I had people question my motives saying I am not Lebanese I am Syrian why would I do such a thing. What people didn’t understand was that when I created that painting I wasn’t thinking Syrian vs. Lebanese; I was thinking one of our Arab brothers is hurting and needs our help. Nationalism in one’s country is a wonderful thing, except when it imposes itself on our basic human instinct to help our neighbors. People may say it is idealistic and that I am naïve in thinking that the Arab countries will unite one day, which is fine. But I would rather be called naïve trying to do something than be pessimistic by giving up.
A.T. Are you concerned at all that because your approach is nationalistic your work may be misconstrued as you continuing the East vs. West, us vs. them dichotomy rather than bridging cultures toward understanding?
K.H. No, I am not concerned. The exhibition is not about us vs. them or East vs. West. It is about ALL of us appreciating our differences, that underneath all the chaos of politics we all have the same aspirations and desires. My new series will be simply to showcase the beauty and pride of the Middle East and illustrate that it isn’t all that different than U.S. pride in America. In fact, by showing these similarities I believe this will be a path to understanding and respect between the two regions.
***This interview was conducted by Ayse Turgut.