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.