Singing Vases by Reem Hammad
28th Fajr International Music Festival by Ebrahim Poustinchi
The letter Ain by Yusef al-Ahmad
Eternity by Shilla Shakoori
The Love of Arabic, Ottoman, and Persian Calligraphy by Sam Anvari & Pouya Jahanshahi
Schizophrenia by Yusef al-Ahmad
Fann by Yusef al-Ahmad
Al Abjadiya’s Travels
Etcetera by Yusef al-Ahmad
The Letter Waw Repeated by Yusef al-Ahmad
Non-Sense I by Yusef al-Ahmad
Habibi by Christian Nahas
World of Right and Licenses in Publication by Ebrahim Poustinchi
Untitled (rice bags), Farzad Kohan
Phantasma by Yusef al-Ahmad
Tiger by Maece Seirafi
Iran's Currency by Milka Broukhim
Taught by the Pen by Nouha Sinno
Mehregan Festival, The Ancient Persian Harvest Festival of Autumn by Sam Anvari & Kourosh Beigpour
Peacock by Maece Seirafi
Confessions by Paul Batou
Love by Paymon Pojhan
Teherangeles by Pouya Jahanshahi
Iran's Currency by Milka Broukhim
Fantasy vs Reality by Yusef al-Ahmad
Ramadan by Maece Seirafi
The Red Flower by Maryam Naghshineh
7 Cities of Love by Paymon Pojhan
Heart Pendent by Maryam Naghshineh
Man Not I by Paymon Pojhan
Persian Beauty by Pouya Jahanshahi
Alaki by Navid Ghaem Maghami
Water and Jasmine Felt Clutch by Maece Seirafi
Syria, Shall Return by Maece Seirafi
Improvisation Concert by Ebrahim Poustinchi
Arabesque skateboard by Yusef al-Ahmad
Man Not I by Payon Pojhan
Dream, Farzad Kohan
Tabateek, Noha Khashoggi
Shahnameh 2012, Sam Anvari
Fahrang Film Festival 2015, Sam Anvari
One Day In Tehran, Navid Ghaem Maghami
Dimension, Yusef Al-Ahmad
Gravity, Yusef Al-Ahmad
Singing Vases by Reem HammadSinging Vases, 2014Size: 22 x 5 x 6"Medium: Stoneware UnderglazeA series of five vases with different sizes and colors withArabic letterforms. "Singing Vases", are a part of a seriesof vases created to celebrate spring in color, spirit, andsong. The vasesare thrown on the wheel consecutivelyto create movement from high to low (musical) notes.Carved out of each vase, are stylized Arabic letters forminga different word that relates to music. They are from tallto short 'Nabad'=Pulse, 'Naghma'=Tune, 'Ghinwa'=Song,'Lahna'=Melody, 'Aaz fa'=Play,
28th Fajr International Music Festival by Ebrahim Poustinchi40"x 27" Digital PrintIllustrating the atmosphere of a music festival and the floating quality of music, detaching from their notations and flowing through space and time. Pointing to the classical aspects of Iranian music, the traditional Nastaligh script is used - yet it's fractured at times, refering to the breaking of molds and taboos of the past by the new generation. Yet again, the background of "Golo Morgh" (Flowers and Birds) touches on the classical Iranian illustration style, while the grayness maintains the melancholic sensibilities of the Persian classical music.
The letter Ain by Yusef al-Ahmad17"x 22" Digital PrintExperimental typography with the letter "ع"
Eternity by Shilla Shakoori24"x 37" Fabric (canvas) StitchesCutting the canvas, a simple material with it's mysteriouswhiteness, a blank slate open to all possibilities, along withhand-stitching in a soothing, meditative way, allows a momentfor me to ponder, finding a way to overcome the obstaclesthat forestall self-expressing.This piece is based on a Rumi poem:We are not from here, and not from there;We are from nowhere, and to nowhere we go.
The Love of Arabic, Ottoman, and Persian Calligraphy by Sam Anvari & Pouya Jahanshahi19 x 25” Screen Printed PosterIn this event poster Typography recites Rumi'spoem "Sun's beauty is the answer for it's own existence". This timeless quote forms the figure of a whirling Dervish, referring to dance and perfection and the beauty of existence.Usage of Metallic Orange conrasts with the mattgray background, intensifying the glow of this timeless message. Pattens and forms reminisce Arabic, Iranian and Ottoman forms creating a structure the frame work this dance continuous, up to present day.
Schizophrenia by Yusef al-Ahmad17"x 22" Digital PrintA visualization of the word Schizophrenia in Arabic.
Fann by Yusef al-Ahmad17"x 22" Digital PrintCover design for Oasis Magazine. Oasis Magazine isthe premier arts & culture magazine from Saudi Arabiathat celebrates the cultural heritage and a modern,progressive and young MENA generation that iscoming up with new ideas and excelling at them.
Al Abjadiya’s Travels‘Al Abjadiya’s Travels’, Series I, 2010Sizes: 3 ¼ ”x 5 ¼ ”x12 ¼ ", 3 ¼ ”x 5”x 10 ¾ ”, 3”x 4 ¾”x 8”Medium: Stoneware Clay, Glazes & Gold LusterPrice: Not For Sale Whether it is sculptural, decorative or functional designs, my focus is on creating aesthetically balanced and eye-catching designs that speak with the viewer, tell their story, or weave together the past and ‘Abjadiyah’s Travels’ is part of a series of work inspired by the Amphora vessel shape used in Ancient Greece and the Mediterranean cultures to transport and store wine, olive oil, grains and other essential goods. To me the Amphora shape embodies the female figure. She carries life and abundant goodness. She is beautiful, adventurous and travels near and far always on a quest. In this instance, she carries the gift of knowledge and the spread of languages across the seas as she travels from East to West with the Arabic Alphabet letters, known as ‘Al Abjadiya’, hand painted in goldto symbolize this gift.
Etcetera by Yusef al-Ahmad17 x 22" Digital print on metallic paperExperimental typography using the word "Etcetera" in Arabic.
The Letter Waw Repeated by Yusef al-Ahmad17 x 22" Digital PrintExperimental typography repeating the letter "و" in Arabic.
Non-Sense I by Yusef al-AhmadMy Fantasy is Reality and my Reality is Probable 20 x 20 Limited edition 7 layer screen printKufi style typography and Islamic patterns with a modern twist.
Habibi by Christian Nahas17”x11” acrylic on paperThis piece expresses the fluid propriety of the word “Habibi”,my love in Arabic. A word that is often used lightly in Lebaneseculture, it is sometimes even used pejoratively to express disgust.
World of Right and Licenses in Publication by Ebrahim Poustinchi40"x 27" Digital PrintPoster designed for the Tehran book fair. The interplaybetween type and letterforms was used to illustrate theinteraction between language and culture throughout time.The classic typewriter of the past , and the three-dimensional typography of present.
Untitled (rice bags), Farzad KohanUntitled(Rice bags )8 x bags2015An experimental craft series, Canvas rice bags are a ubiquitous presence in every traditional Iranian kitchen. Using these ephemeral objects as a medium, numbers and character of alphabet are painted, creating a new surface and unifying them through a personal perspective.
Phantasma by Yusef al-AhmadHow magnificent it is, to love the unattainable.13"x 13" limited edition 3 layer screen printThe unattainable is always perfect and magical in ones head. Reality could never compete with the power of imagination. The unattainable is flawless and could never lose it's value or cause disappointment as long as it remains out of reach.
Tiger by Maece Seirafi8.5 x 11" Pen and Ink"There are no words describing my homeland"This zoomorphic pointillist approach was something Maece cultivated at CalArts with hybrid methodologies in typography. This process includes illustrating letterforms and the zoomorphic integration of Arabic letterforms and their curvaceous nature. Each of the animal forms are composed of a quote in Arabic using the technique called Zoomorphic calligraphy. Instead of using traditionalink with a bamboo stick Maece chose to experiment with pointillism with areas of dark and light to emphasize depth within the form.
Iran's Currency by Milka Broukhim41" x 18” 12 color archival ink on archival fine art paperCurrency of a country is the business card of the country. Iran, the land of Ira people is about 10,000 years old (one of the oldest civilization groups). My first intention was to create a currency system that would emphasis on the richness of the country’s art and architectural history that has been influencedby each major government era. Each currency carries a theme that depicts the historical value via the architectural and the art of the time. In this manner, each currency allows for historical documentation as well as visually communicating the history ofIran in each government era.
Taught by the Pen by Nouha Sinno44" x 29" multimedia on handmade paperThe love and interest for Arabic Artis immensely growing. Calligraphy as a prominent element of this art, Artists and viewersare more involved by focusing in this type of expression. From different backgrounds, people appreciate the classic form of letters, and admiring the creation of original and contemporary writing as well. Now Calligraphy is taking multiple directions, artist tend to manipulated the letters as they wish.. It is a blessed move towarda modern Islamic/Arabic calligraphy...
Mehregan Festival, The Ancient Persian Harvest Festival of Autumn by Sam Anvari & Kourosh Beigpour19" x 25” Screen Printed PosterPersian Festival of Autumn Harvest: The tree in thebackground is symbol of life and prosperity, borrowedfrom Persopolis.
Peacock by Maece Seirafi“I Dream Daily” 8.5" x 11" Pen and InkThis zoomorphic pointillist approach was something I cultivatedat CalArts with hybrid methodologies in typography. This processincludes illustrating letterforms and the zoomorphic integrationof Arabic letterforms and their curvaceous nature. Each of the animal forms are composed of a quote in Arabic using the technique called Zoomorphic calligraphy. Instead of using traditionalink with a bamboo stick I decided to experiment withpointillism with areas of dark and light to emphasizedepth within the form.
Confessions by Paul Batou30" x 4" x 15" Acrylic on CanvasBased on a poem: "Journey with Ishtar Fall of Mesopotamia". My colors are united in one piece of art, reflecting the tone of the earth, the language of the universe, the cry of pain of the oppressed people. On my canvas, the black, red, and white are in harmony just like my soul. I would for all people to achieve that kind of unity.
Love by Paymon Pojhan19"x 11"x 5" Steel and EpoxyThe unity of the Persian alphabet and their synergy onone hand, and the the contrast that each form holds,is a metaphor for the difference existing between twoindividuals, that because of their love create a whole,a unified entity.
Teherangeles by Pouya Jahanshahi24" x 36" Digital PrintTehrangeles is a neighborhood of West Los Angeles, home to the largest community of Iranian Diaspora. Here, the metaphorical form of a Persian carpet – as a map – celebrates the structures that host various generations and dimensions of Iranians culture in this unique geographic area.On a typo-linguistic dimension, Farsi and English typographic forms are fractured, and melded together referring to the hybrid languageheard all along the Tehrangeles vicinity, where Farsi and English words reside side by side in a sentence– at times referred to as "P-English".
Iran's Currency by Milka Broukhim41" x 18” 12 color archival ink on archival fine art paperCurrency of a country is the business card of the country. Iran, the land of Ira people is about 10,000 years old (one of the oldest civilization groups). My first intention was to create a currency system that would emphasis on the richness of the country’s art and architectural history that has been influenced by each major government era. Each currency carries a theme that depicts the historical value via the architectural and the art of the time. In this manner, each currency allows for historical documentation as well as visually communicating the history of Iran in each government era.
Fantasy vs Reality by Yusef al-Ahmad17 x 22" Digital PrintReality and fantasy are two overlapping concepts.
Ramadan by Maece Seirafi18" x 24” Pen and InkAn Arabic typographic illustration of the word Ramadanin Arabic finished with a pointillist style. Incorporating thepointillism style is something seen with tattoo artists. Anunorthodox approach to portraying Ramadan, howevertattoos have a permanence on our bodies similar to thepermanence that the process of Ramadan has on ourbodies resulting in a feeling of beautiful pain.
The Red Flower by Maryam Naghshineh16x12AcrylicThis piece is from artist's new abstract collection,which was inspired by Persian motifs and calligraphy.
7 Cities of Love by Paymon Pojhan19"x 12"x 12" Aluminum and BrassA reference to the famous Persian poet Attar, andthe empire of Persia, comprised of individual culturesand lands. Here we see individual entities uniting,hence creating a higher form: a metaphor for the needto enable existing contrasts amongst humans, towardsa path of unity and for the sake of enlightenment.
Heart Pendent by Maryam Naghshineh40x30 Mixed MediaThis piece was inspired by a poem by famousIranian poet Ahmad Shamlou called "public love" .
Man Not I by Paymon Pojhan18"x 11"x 8" Aluminum and FiberglassWhat pushes me forward in my art is my roots in myhomeland and the Persian culture. This sculpture is adirect reflection of that, bringing forth a being that stillhas the creativity and delicateness in his work, yet thelife in a foreign land has not influenced his identity.
Persian Beauty by Pouya Jahanshahi24 x 36" Digital PrintPerhaps amongst all artifacts, the Persian carpet best signifies the Persian culture, a symbol of timeless value, and a work of art that exudes beauty, and elegance. A dominant present in Tehrangeles, this poster is built to resemble a carpet-frame, with threads that weave the central typographic form of the word "Gileem"(Persian Rug).A metaphorical reference to the the hybrid culture that exist amongst Iranian diaspora, Western forms and Latin words are mixed with Farsi writing to communicate this content. Bringing forth a pragmatic dimension, a street map identifying prominent carpet stores in Tehrangeles is amongst the elements present.
Alaki by Navid Ghaem Maghami5"x 5.5" CD Packaging DesignAlbum design for Mohsen Namjoo "Alaki".The menaing of the title" Alaki" (false,fake) issubverted by using the formal script of Naatique.
Water and Jasmine Felt Clutch by Maece Seirafi15.5 x 5.5" Lasercut FeltThe idea that typography could be worn or touched, in thecase of a clutch, has always been a fascination of mine withthe ability to treat typography as tactile object one can interact with. The felt typeface is based off of the Local/Not Locallogotype.
Syria, Shall Return by Maece Seirafi26 x 19” Screen Print"It Shall Return" is an illustrated map of Syria revealing thebeauty of the architectural landmarks all across the country givinga quick scope of what Syria is all about. The idea was to illustrate the landmarks rather than locating them on a map, to reveal the geography and wealthy of this country. This poster brings hopethat one day Syria will go back to the prosperous country it once was and continue to thrive in the region as the cradle of civilizations.
Improvisation Concert by Ebrahim Poustinchi100x70 cm digital print"Improvisation" is a concert based on the dialogue between the modern language of Piano, and the Persian traditional taste of Kamancheh. The atmosphere of Inanlou and Yazdanian's music, illustrate the nature ofIranian modernized, traditional sociality. in this poster, typography has been used as an urban art/sculpture, that is integrated with "Bazaar", as one of the characteristic elements of Iranian life flow.
Arabesque skateboard by Yusef al-AhmadMy fantasy is reality and my reality is hypothetical.8 x 30" skateboard graphicsKufi style typography and Islamic pattern.
Man Not I by Payon Pojhan18"x 11"x 8" Aluminum and FiberglassWhat pushes me forward in my art is my roots in myhomeland and the Persian culture. This sculpture is adirect reflection of that, bringing forth a being that stillhas the creativity and delicateness in his work, yet thelife in a foreign land has not influenced his identity.
Dream, Farzad Kohan
Tabateek, Noha Khashoggi
Shahnameh 2012, Sam Anvari
Fahrang Film Festival 2015, Sam Anvari
One Day In Tehran, Navid Ghaem Maghami
Dimension, Yusef Al-Ahmad
Gravity, Yusef Al-Ahmad
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