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Contemporary Arabic calligraphy based on the Kufic style. The word khaliya, pl. khalâya, from a root which means "void, empty space", refers to the cell, both in the body or in the beehive. It is a close relative to khalwa خلوة, the monk's cell or hermit's retreat. The beehive is the dominant note for this modular piece, which evokes simultaneously the cells filled with honey and the flowers that provided it. The geometry is relieved by the irregular gradation of the colours and by the variation within each hue. At the centre, an empty space reminds us of the core meaning of the word; the whole piece is in itself one cell. This work was conceived in a very unusual way; the idea was suddenly there – so suddenly I can't recall what brought it about – and I knew what it would look like before I knew what word it was. I never work this way because I don't force words into shapes, both the concept and the design need to arise from the word. Yet when I was looking for a fitting word and checked the word for "cell", I was astounded to find that خلية was perfect for the design, with the tall ل in exactly the right place (which is off-center by one unit), and required no manipulation whatsoever. How that happened is still a mystery to me, but it made me trust the idea, although it was such a novel one that until the last piece was in place, I had no idea where I was going. And only after it was completed and hanging on my studio wall, did I discover that it was all about the shadows. Materials: Acrylic on Magnani Corona paper, hand-cut, scored, folded, assembled on canvas. Size: 122x122 cm
Contemporary Arabic calligraphy based on the Kufic style. The word khaliya, pl. khalâya, from a root which means "void, empty space", refers to the cell, both in the body or in the beehive. It is a close relative to khalwa خلوة, the monk's cell or hermit's retreat. The beehive is the dominant note for this modular piece, which evokes simultaneously the cells filled with honey and the flowers that provided it. The geometry is relieved by the irregular gradation of the colours and by the variation within each hue. At the centre, an empty space reminds us of the core meaning of the word; the whole piece is in itself one cell. This work was conceived in a very unusual way; the idea was suddenly there – so suddenly I can't recall what brought it about – and I knew what it would look like before I knew what word it was. I never work this way because I don't force words into shapes, both the concept and the design need to arise from the word. Yet when I was looking for a fitting word and checked the word for "cell", I was astounded to find that خلية was perfect for the design, with the tall ل in exactly the right place (which is off-center by one unit), and required no manipulation whatsoever. How that happened is still a mystery to me, but it made me trust the idea, although it was such a novel one that until the last piece was in place, I had no idea where I was going. And only after it was completed and hanging on my studio wall, did I discover that it was all about the shadows. Materials: Acrylic on Magnani Corona paper, hand-cut, scored, folded, assembled on canvas. Size: 122x122 cm
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Cells Sculpture

Joumana Medlej

United Kingdom

Sculpture, Paper on Canvas

Size: 48 W x 48 H x 2.4 D in

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Originally listed for $6,450
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About The Artwork

Each unit in this piece is formed of a word in the geometric kufic script, cut out and folded into a "cell". The word is khaliya خلية, from a root which means “void, empty space”, and refers to the cell, both in the body or in the beehive. It is a close relative to khalwa خلوة, the monk’s cell or hermit’s retreat. The beehive is the dominant note for this modular piece, which evokes simultaneously the cells filled with honey and the flowers that provided it. The geometry is relieved by the irregular gradation of the colours and by the variation within each hue. At the centre, an empty space reminds us of the core meaning of the word; the whole piece is in itself one cell. The piece finds its full expression once it hangs on a wall, as the light can then draw shadows that change constantly throughout the day.

Details & Dimensions

Sculpture:Paper on Canvas

Original:One-of-a-kind Artwork

Size:48 W x 48 H x 2.4 D in

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I'm a British-Lebanese artist who moved from Beirut to East London about a decade ago. I'm best known for reviving archaic styles of Arabic calligraphy (the Kufi scripts) and the medieval art materials that accompany them. My work reflects my experience of the world as being alive with mystery. It invites the viewer to step into this forgotten space by holding them in wonder and stillness: in this vulnerable moment, when one is silenced by beauty and by not-knowing, remembrance can stir. To this end, the work takes on different shapes, from images of contemplation made up of unreadable words to multisensory interactive objects that tell an unspoken story.

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