Karim Jabbari is a renowned Tunisian calligraphy and light artist celebrated for blending traditional Arabic script with contemporary light art. His work has been showcased globally, with permanent pieces in prestigious institutions such as the Sheikh Jaber Al-Ahmad Cultural Centre in Kuwait, the King Abdulaziz Center for World Culture (Ithra) in Saudi Arabia, and the King Faisal Center for Research and Islamic Studies in Riyadh. Jabbari has participated in major international events, including the First Islamic Biennale in Jeddah and the Dubai Calligraphy Biennale.
Notable large-scale projects include the longest mural in North Africa in Kasserine and the illuminated minaret in Sousse, Tunisia. As the founder of the Streets Urban Festival in Tunis, Jabbari remains committed to celebrating Arabic calligraphy in public spaces while reimagining cultural identity within contemporary urban contexts. Recognized among the Top 30 Public Artists by the International Award for Public Art (IAPA), Jabbari continues to push the boundaries of calligraphy through light, movement, and spatial engagement.
In Dubai, Jabbari’s solo exhibition “Vertical Horizon / 361 Degrees” at Inloco Gallery (January 29 – May 30, 2025) serves as the final chapter of a three-part exploration of lost tradition and urban nostalgia. This exhibition blends calligraphy-based artworks, light installations, and photography to examine the intersection of heritage and modernity .
The exhibition’s visual narrative is enriched by the photography of Grigoriy Yaroshenko, a Russian documentary photographer and visual storyteller based in Dubai.
In this interview, Karim Jabbari reflects on his journey as an artist, delving into the childhood experiences that shaped his passion for calligraphy, the cultural and historical significance of Arabic script, and his innovative approach to preserving this art form.
Interview with Karim Jabbari
Q: Can you share how you began your journey into calligraphy and how the medium bridges tradition and modernity, especially through your use of light art?
A: One day, I encountered calligraphy, began writing, and now here I am, an international artist. That’s the simple answer. But in truth, my connection with calligraphy is deeply rooted in my childhood. My family and I were under house arrest due to my father’s political opposition to the regime. I was 11 years old, confined to our home, and had little to occupy myself. My father had a library filled with books, and I found solace in them.
I was mesmerized by the craft of writing—the beauty of the letters and how human hands could create something so intricate. This fascination turned into a lifelong love for calligraphy. It became a way to connect with people, to express myself, and to give back to the art that shaped my social identity as a student. For me, writing is not just an act; it’s a statement of existence. Calligraphy also allowed me to feel grounded during a turbulent childhood and ultimately inspired me to bring this timeless art to modern mediums, including light art.
Q: How has the Arabic language influenced your love for calligraphy?
A: Arabic calligraphy plays a critical role in my work. In recent years, I’ve found myself fighting to preserve the craft because we are losing this beautiful tradition at an alarming rate. Losing it disconnects us from the chain of knowledge passed down through generations. Writing is a way to keep this link alive. It’s a serious matter—more so than many realize. Today, people rely heavily on digital tools, but during a crisis, when technology fails, the ability to write becomes indispensable.
I’ve taken on a mission to highlight the beauty of calligraphy through workshops, street art, and exhibitions. These efforts allow me to inspire people and help them understand the cultural and historical significance of this art form. The rich, dense nature of the Arabic language adds to its beauty; it carries profound literary and spiritual weight that resonates through every stroke of the pen.
Q: What role did your father’s library and the manuscripts play in shaping your artistic journey?
A: My father’s library was transformative for me. It contained books that were 300 to 400 years old—fragile treasures no one was allowed to touch. When my father was imprisoned for 13 years, those books became a reminder of him and his presence in our home. I began exploring them, captivated by the texture of old paper, the smell of ink, and the intricacies of the handwriting.
This visual and sensory journey deeply influenced my artistic style. The calligraphy I create today—such as the pieces in my recent solo show—is directly inspired by those manuscripts. My art is not just about writing; it’s about preserving a connection to my personal history and cultural heritage. Through these ancient texts, I also understood the power of storytelling and documentation that continues to shape my creative vision.
Q: How do you incorporate messages and inspirations into your calligraphy?
A: My inspirations come from life itself—the things I read, feel, and experience, as well as my interactions with people. I document these inspirations in sketchbooks to revisit them later. Calligraphy, especially Arabic calligraphy, has a sacred dimension. Historically, it was used by civilizations to express power and culture. Letters were written with precision and beauty to convey messages of love, war, and alliances.
I once did a TED Talk in Casablanca about the migration of calligraphy styles with shifts in power. For instance, the Kufi script originated in Iraq, then evolved as political power moved to Tunisia and later to Andalusia, Spain. This evolution illustrates the enduring cultural significance of calligraphy as an art form that speaks to the soul. I aim to innovate within this tradition by using light art and unconventional materials to make calligraphy more accessible and dynamic.
Q: How was your experience working with Khalil Abdul Wahid and connecting your work to Satwa?
A: Khalil is a wonderful person, and working with him was a highlight of my career. Satwa is a place full of life and authenticity, with its bustling shops, street food, and human interactions. Collaborating with Khalil allowed me to connect my solo show to Dubai—to ground my work in the local culture rather than merely presenting it as an external addition. This connection made the show more impactful for the local audience.
Exploring Satwa’s urban nostalgia inspired me to create art that bridges past and present, reflecting the human stories embedded in these spaces. It’s about celebrating the vibrancy of everyday life and recognizing its role in shaping cultural identity.
Q: As the founder of the Street Urban Festival in Tunis, how do you see public art preserving cultural memory in the face of modernization?
A: Public art is a way to leave a mark—a testament to ideas, thoughts, and messages. Street art, in particular, preserves cultural memory by engaging with the community and raising awareness about societal issues. My work aims to inspire others and foster a deeper connection with the spaces we inhabit. It’s about innovation, collaboration, and ensuring that art remains relevant and accessible.
In Tunis, I’ve worked to ensure that public spaces reflect the stories of their inhabitants. My street art becomes a part of the city’s fabric, resisting the erasure of memory caused by rapid modernization. It’s both a protest and a celebration of what makes each place unique.
Q: The exhibition title, “Vertical Horizon / 361 Degrees,” is intriguing. What inspired it?
A: “Vertical Horizon” is a nod to a song by the French hip-hop group IAM, whose poetry deeply resonates with me. The title reflects the disconnection of modern life, where high-rise living isolates people despite their physical proximity. It’s about questioning societal norms and the illusions perpetuated by media and industry.
“361 Degrees” represents an intentional shift—one degree beyond a full circle—symbolizing change and awareness. The exhibition explores how modernity distorts traditional values and challenges viewers to look beyond the surface. It’s a call to reevaluate what truly matters in our lives. Together, the titles suggest a balance between reflection and action, urging audiences to engage critically with the world around them.
Q: What advice would you give to other artists striving to preserve cultural heritage through their work?
A: Innovate and collaborate. Use diverse mediums and engage with communities to create meaningful connections. Public art can inspire and educate, ensuring that cultural heritage remains alive and relevant. Always strive to leave a positive impact through your work. At the same time, stay true to your own narrative, as authenticity is what resonates most with people. By anchoring your art in personal and cultural history, you create something timeless.
