 Samir
El Sayegh Born
1945
Nationality
Lebanese
Education
• Saint Savior Convent (Joun, Lebanon)
• History of Art program at Ecole des Beaux arts (Paris, France).
Experience
• Art critic at the following publications: Lissan Al-Hal newspaper
(1968-1970), Al-Anwar newspaper (1970-1980), Finoun Arabia magazine-London
(1978-1982), Mawakef magazine (1969-1985), Al-Kifah Al-Arabi magazine
(1982-1990), Fann magazine (1989-1991).
• Various studies and articles on contemporary and Islamic art in
other specialized journals and publications.
• Jury member at Sursock Museum (1991 to date).
• Lecturer at Graphic Design Dept – American University of Beirut
(1993 to 2007).
Publications
• Maqam al-qaws wa ahwal al-sahm, poetry, 1980.
• Islamic Art - A reading into its philosophy & aesthetic characteristics,
1988.
• Contemporary Art in Syria, 1998 (co-editor).
• Muthakarat Al Huruf, poetry, 2003.
Exhibitions
(Arabic calligraphy)
1983: Galerie Elissar, Beirut
1987: Kulturzentrum, Kaslik
1988: Goethe Insitut, Tripoli
1988: Hariri Cultural Centre, Saida
1992: Galerie 50 x 70, Beirut
1996: Galerie 50 x 70, Beirut
1997: Galerie Atassi, Damascus
2003: Galerie Agial, Beirut
2004: First Sharjah Biennale for Calligraphy – Special Guest Exhibit
2006: British Museum – Contemporary Arab Art (Collective Exhibition).
Selective
Executed Work
Applied Works
• Moucharrabias of Omari Mosque – Beirut.
Wood and marble. Supervision: Yussef Haydar, architect.
• Ceiling of
Assila showroom.
Copper. Supervision: Yussef Haydar, architect.
Calligraphy
for Books & Magazines
• “Al Namus Al Sharif”.
Publisher: Balamand University. Supervision: Saad Kiwan.
• History of
Banks in Lebanon
Publisher: Audi Bank. Supervision: Saad Kiwan.
• “Mediterranean
Affairs” magazine (“Shu’un Al Awssat”).
• “Oriental
Arts” magazine (“Funun Sharqiah”).
Selective Logos
• Audi Institution – Saida.
• Soap Museum – Saida.
• Boutique “Liwan” – Paris.
• Mena Jet – Arab Airline Company.
Supervision: “Mind The Gap”.
• Syndicate of Engineers – Beirut & Tripoli.
Supervision: Leyla Musfi.
• Beiteddine Festival.
Supervision: Leyla Musfi.
• The South for Construction Company.
Supervision: Leyla Musfi.
Duality
by El Sayegh
The art of calligraphy has long suffered from the
duality of image and meaning, form and language. With the exception
of the geometric and square Kufi and the Kufi script of early Qur’ans,
the attempt to equate or balance between the aesthetics of calligraphy
as a form and the legibility of writing took great efforts and much
time, but in the end despite some brilliant works, it was an obstacle
to the creativeness of this art.
In the art of calligraphy, form must surpass the
text and its meaning. The text is only an excuse to draw calligraphy.
In calligraphy, form is content, whereby meaning comes from the
dialogue between lines, curved and straight, long and short, attached
and detached, and from interchange, proximity, intersection, correspondence
or other similar attributes and modes that in turn will translate
into letters and words and constitute thereof the true language
and meaning of this art.
The word and
language as mediums of communication have been dominant for a long
time. Therefore, in order to reinsert calligraphy into our modern
arts, we should overcome this duality… such that form and only form
prevails.
Calligraphy 20 x 70 cm
Calligraphy 40 x 25 cm
Calligraphy 40 x 25 cm
►►
Some of the artist's artwork
Contact:
editorial@onefineart.com
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