Mr. Sakkal studied painting, print-making, and sculpting in Plastic Arts Institute, Aleppo, Syria,1960-1969
Participated in national and juried art exhibitions in Syria. Paintings and
drawings are in the collection of the Culture Ministry of Syria, and in private
collections in England, France, Holland, Japan, Kuwait, Saudi Arabia, Syria,
Tunisia, Poland, and USA. Two of pieces of his artwork are now on display in
the American Embassy in Syria as part of the Art in Embassies program. Mr. Sakkal's
artwork has appeared in Alhayat Newspaper, Aljadid magazine, Arts and the Islamic
World in London, California Quarterly, Computer Artist, Cune Online magazine,
Iqra Magazine, Islamic Horizons, Middle East Studies Association Bulletin, Multilingual
Computing, The Seattle Times, Visual Impressions, the Weekly, The Guardian Review
of London, and others. His Arabic calligraphy artwork is included in the book
"Islamic Art and Architecture" published by Koneman Publishers in Cologne, Germany.
He is also featured in the book "Arab Typography" published by Saqi Books in
London.
Illustrated children's books, designed Arabic and English typefaces, posters,
book covers, exhibition catalogues, promotional material, and many logos and
trade-marks for corporations and institutions in the Middle East and United
States.
Mr. Sakkal uses the Macintosh computer for illustration, graphic design, and
desktop publishing since 1985, with special emphasis on compatibility between
Arabic and English, and on adapting traditional forms of Arabic and Islamic
graphics for modern aesthetic and functional needs. He produced the first computer
clip art collection of Arabic calligraphic designs in vector format.
Mr. Sakkal drew many renderings for architectural projects in Syria, Saudi Arabia,
and United States. Worked as Illustrator for the Daily, University of Washington
newspaper 1980/81; Art Consultant for Islamic Horizons magazine 1988/92; Iqra
magazine 1993- present; and Art Director for Cune Press 1994- present. Illustrator for AlJadid Magazine 1997- present.
Mamoun Sakkal started experiments in using calligraphy as painting in the mid
nineteen sixties, and produced abstract water colors utilizing his personal
interpretation of the Arabic letter forms. He now uses a computer to produce
calligraphic designs based on classical letter
forms.
SELECTED ART SHOWS:
“Cultural Perspectives” Seattle Municipal Tower Gallery, October 4 – December 28, 2016
Kufic Calligraphy Exhibition, Kuwait’s 6th International Islamic Arts Convention, Kuwait, December 30, 2013- January 9, 2014
“Art and Culture Day” Muslim Association of Puget Sound, Redmond, Washington, June 16, 2012
“Project Brody Neuenschwander,” Romeins Archeologisch Museum Oudenburg, Oudenburg, Belgium, June 19 – July 31, 2011
“Reflections, An Exhibition of Contemporary Arab American Art” curated by Hahim al-Tawil. Sisson Gallery, MacKenzie Fine Arts Center, Henry Ford Community College, Dearborn, Michigan. January 21- March 6, 2009
“Continuity and Change: Islamic Tradition in Contemporary Art” Williamsburg Art and Historical Center, New York, November 10 –December 2, 2007
“Arabic Calligraphy Art Live Auction” organized by Central Texas Muslimaat, Austin, Texas, November 18, 2006
“The Power of the Word” Hashim al-Tawil and Mamoun Sakkal, Synergy Fine Art Gallery, Berkley, Michigan, August 25 - September 23, 2006
“Where We Are Now,” art show of Arab American artist from the Northwest, 2006 Northwest Folklife Festival, Seattle, May 26-29, 2006
“Treasures of Damacus: The Sights and Sounds of Syria,” University of Washington Club, University of Washington, Seattle, WA, April 27, 2006
“Four C’s: Computers, Cartoons, Caricatures, and Calligraphy,” East Shore Gallery, Bellevue, WA, March 19- April 23, 2006
“Love Letters” a group exhibition of calligraphic work. Floating Leaves Tea House, Seattle, WA, February 11- April 7, 2006
“Snap to Grid: the UN-Juried Competition,” Los Angeles Center for Digital Art, Spetember 8-October 1, 2005, Lose Angeles, CA
“Re-Interpreting the Middle East: Beyond The Historical Stereotype” A theme portfolio of 23 artists from the United States, Canada, Europe, and the Middle East. Sisson Gallery, MacKenzie Fine Arts Center, Henry Ford Community College, Dearborn, Michigan. September 12 - October 20, 2005
“Flourish II” a calligraphic exhibition sponsored by Write On Calligraphers, Washington State Convention and Trade Center, Seattle, WA, June 30-Sept. 28, 2005
Arab Heritage Month Art Exhibit, The Harrison Gallery at Seattle Center, Seattle, WA, August 2-15, 2005
“Steps and Shadows” artwork permanently displayed in the new Sharjah Islamic Museum, UAE, 2005
Solo art show of calligraphy work at Historians of Islamic Art Majlis, Seattle, WA, 2004
Solo art show of calligraphy work, Contemporary Art Center, Tashkent, Uzbekistan, 2004
"Diversity in Harmony" A National Exhibit by Artists of Arab & Middle Eastern Heritage. The Alfred Berkowitz Gallery, The University of Michigan-Dearborn, September 8 through October 10, 2003
"2+2=Art: The Art of Mathematics," The Everett Center For The Arts, Everett, WA, 2003
"Art in Embassies Exhibition" American Embassy in Damscus, 2003-2005
"The Spirit of Islam: Experiencing Islam Through Calligraphy" Museum of Anthropolgy, Vancouver, British Colombia, 2002
"Arab Art from the Northwest"Odegaard Undergraduate Library, University of Washington, Seattle, WA, 2002
"Threading Memories: Arab Art from the Northwest" Seattle Center House Gallery, Seattle, WA, 2001
Peal Gallery at the King Library, University of Kentucky, Lexington, 2001
Islmaic Society of North America National Convention. Special art show 2000
"Artworks" Art Exhibit, Seattle Center Pavilion, Seattle 1999
"Arab Festival Art Exhibit" Seattle Center Pavilion 1999
The Gallery, Texas Union, University of Texas, Austin, TX 1997
Amandari Gallery, Seattle, WA, 1996
"Works of Faith," First Presbyterian Church, Portland, Oregon, 1996
"Inscription as Art in the World of Islam," Hofstra Museum, New York, 1996
"Art by Architects," Seattle Chapter American Institute of Architects, 1996
Islamic Arts Show, The Abiquiu Inn, Abiquiu, New Mexico, 1995
Islamic Society of North America Convention, Chicago, IL, 1994
Arab Center of Washington, Seattle, WA, 1994
University of Washington, Seattle, WA, 1979-80-90-91
University of Cambridge, England , 1990
University of Aleppo, Syria, 1974
Aleppo National Museum, Syria, 1969
Award of Excellence for Bustan Arabic typeface design, Type Directors Club Type Design Competition, New York, 2015 and featured in "Typography 36: The Annual of the Type Directors Club," Verlag Hermann Schmidt, Mainz, Germany, 2015, page 342
Arabic calligraphy logotype selected for the book "LogoLounge 9" by Bill Gardner and Anne Hellman, 2015
13 Arabic calligraphy works and biography appeared in Islamic Society of North America Hijrah calendar for the year 1436/2015. ISNA, Plainfiled, 2015
"Khatt Bustan" (Bustan Typeface), review of new Arabic typeface appeared in Hroof Arabiyya magazine, Dubai, Issue 34, October 2014, pp. 50-52
Four Arabic calligraphy logotypes selected for the book "LogoLounge 8" by Bill Gardner and Anne Hellman, 2014
Calligraphic image "Steps and Shadow" and text commentary included in the educational project "Saphir: Folien zum Islam" containing 48 slides and booklet, by Dr. Werner Hauβmann, et al. Kösel-Verlag, Munich, 2013
Arabic typography logotype featured in Letter Arts Review Annual Jurie Issue, Greensboro, NC, 2012
Seven Arabic calligraphy logotypes selected for the book "LogoLounge | Master Library" volume 4, by Catharine Fishel and Bill Gardner, 2012Greeting cards featured in Letter Arts Review Greeting Card Issue, Greensboro, NC, 2012
Typographic work featured in Letter Arts Review Annual Juried Issue, Greensboro, NC, 2012
Typographic work featured in Letter Arts Review Annual Juried Issue, Greensboro, NC, 2011
Arabic calligraphy logotype selected for the book "LogoLounge 5" by Catharine Fishel and Bill Gardner, 2009
Four Arabic calligraphy logotypes selected for the book "LogoLounge 4"by Catharine Fishel and Bill Gardner, 2008
First Place Award for logos for non-profit organizations and events, “Best of the Best 2006” International design contest for logos, trademarks and corporate identity. Identity magazine, Moscow, 2006
Four Arabic calligraphy logotypes selected for the book "LogoLounge III" to be published in 2006
First Place Award in calligraphy, Letter Arts Review annual competition Review 2005, Silver Springs, MD, 2006
First Place Award, Arab Human Development Report cover design competition, United Nations Development Programme, New York, NY, 2003
Two Awards of Excellence for Sakkal Seta and Arabic Typesetting typefaces, Type Director's Club typeface design competition, 2003
Selected by Seattle Arts Commission to design an artwork for Seattle Center representing the Arab Festival in "Artworks Project" 1999
First Award in Kufi style: Third International Calligraphy Competition, Research Centre for Islamic History, Art and Culture, Istanbul, Turkey, 1993
First Prize: Arab Union of Military Sports, logo design competition, Baghdad, Iraq. 1976
Best Design: Unknown Soldier Monument, national design competition, Damascus, Syria.1975
Second prize: Cotton Festival Poster Design competition, Aleppo, Syria. 1975
First prize: Cotton Festival Poster Design Competition, Aleppo, Syria. 1974
First prize: Cotton Festival Poster Design Competition, Aleppo, Syria. 1973
Two awards: Poster Exposition, Damascus, Syria. 1972
Third prize: Amateur Film competition, Aleppo Cinema Club, Aleppo, Syria. 1971
Award of Spring Exposition, University of Aleppo, Aleppo, Syria. 1970
First prize in painting: Syrian Plastic Arts Institutes Sixth Exposition, Homs, Syria. 1969
First prize in print-making: Cotton Festival Exposition, Aleppo, Syria. 1969
Award of Plastic Arts Institute of Aleppo Exposition, Aleppo, Syria. 1969
First prize in print-making: Cotton Festival Exposition, Aleppo, Syria. 1968
Honorable award in painting: Syrian Plastic Arts Institutes Fifth Exposition, Damascus, Syria. 1968
ARTIST'S STATEMENT
Mamoun Sakkal
A European artist in Syria,
an Arab artist in the United States
Drawing and painting are some of the earliest activities I remember doing while growing up in Aleppo, Syria. Born in 1950 to teachers of Arabic language, I spent many hours with childrens books, which my father had amongst his extensive library, and always enjoyed copying the illustrations or making the craft projects. Most of these books were French or English. They opened windows to fascinating worlds for me, and made my childhood a mixture of local traditions and European images.
When I was about nine years old, the first institute for art instruction opened in Aleppo. It was named after Fathi Muhammad, a Syrian artist who started to gain international repute with his sculpture work, but died at a young age, just before returning home after finishing his art study in France. My father was a friend of the artists who taught at the Art Institute, all trained in Italy, so I was accepted despite my young age in the twice a week evening painting courses, an activity I continued for the next ten years, with some interruptions, until I went to the University of Aleppo in 1969 to study architecture. During these years, I learned about print making, sculpting, and some calligraphy, in addition to drawing and painting.
I started painting in oils and watercolor in the third grade, when I was barely
tall enough to reach up to the canvas on the easel, but was fortunate to have
an encouraging and talented teacher. The next teacher who had a great impact
on my art training was Fawaz Nasri, who had just returned from Italy in 1966
and was appointed to teach art in our high school. He showed me how to draw
directly from nature, and how to go out into the street to record what I saw
in my daily life, and the lives of those around me. For three years I drew sketches
whenever I was out of school, and studied the different styles of modern art
when I was in the school art studio. During these years I started to show my
artwork in local and national art exhibitions and won several awards in painting,
print making, and poster design.
The wars with Israel in '67 and '73 brought a lot of anger, resentment, and
doubts about our life and beliefs. But most of all they brought a mistrust in
many convictions we held about our world, including the meaning and role of
art. Despite my admiration for the European traditions of art, the only traditions
I had learned, I started to have serious doubts about their appropriateness
in communicating with my towns folk. I felt that I was isolated from the
majority of my people and wanted to reach them through my artwork. This was
a reflection of a deeper alienation I had from the visual heritage of my own
culture. My artwork barely revealed an Arab or a Muslim artist at work.
Since then I have embarked on a quest to understand the visual heritage of my country more intimately, and to explore the possibilities it provides for producing artwork which is more relevant to the lives of the majority, not the minority. Artwork that has local roots and speaks to the deepest emotions and aspirations of my people. This search has lead me to consider new ways of visual expression not only in fine art, but also in architecture, interior design, and graphic design.
After graduating from the University of Aleppo, I served in the army as an architect, then came to the University of Washington in 1978 for a Masters in Architecture and Urban Design. My graduate studies unveiled the inseparable Islamic qualities of my Arab personality, and broadened my appreciation for the riches of my culture. Although my research work at this time was focused on architecture, it affected my artwork over the years. I found myself drawn towards calligraphy and moving away from representational art. Language has been the premier medium of self expression for the Arabs for millennia, and calligraphy is the visual manifestation of that love for language.
In the mid 1960s I experimented with the use of calligraphy in drawings and paintings. My early work involved letter forms I modified to give contemporary, abstract shapes. These works were influenced at the time by pioneering artists such as Sami Burhan and Mahmoud Hammad from Syria, who started to use calligraphy in their paintings in the 1950s and 60s. Since then, many other artists around the world realized the inherent value of the Arabic letter-forms as a rich visual vocabulary. Since the early 1990s my work incorporated more traditional calligraphic forms which are presented in a modern garb of coloring and composition, and with more emphasis on order and structure.
I am trying at present to explore abstract patterns as a medium for visual
expression that goes beyond mere decoration by bringing out their emotional
and poetic qualities. I am also working on a series of prints that incorporate
fragments of old buildings, sometimes coupled with calligraphy, as I become
increasingly homesick and burn with a desire to express my love and attachment
to a place which seems so remote now, yet so close to my soul.
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Updated 10/15/2016