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Lot Essay
Born in Damascus in 1923, Syrian multi-disciplinary artist Mahmoud Hammad had a significant influence on the development of modern Syrian art. A pioneer in the field, he deftly navigated multiple techniques, including painting, printmaking, metal engraving and sculpture. Hammad received his formal training at the Accademia di Belle Arte in Rome between 1953 and 1957 before returning to Damascus. There, the young artist contributed to the establishment of Syria’s first Faculty of Fine Arts, where he served as its dean until 1980. As a founding member of the Damascus Group, Hammad together with other Syrian abstract artists, paved the way for a new artistic vision in tandem with social changes in post-independence Syria.
Hammad’s style underwent significant transformations over the years, ultimately culminating in a series of works that espouse Arabic calligraphy with geometric abstraction. Emerging as the artist of a burgeoning Syrian art scene, Hammad embraced the Hurufiyya movement, adopting a distinctive approach to abstract calligraphy. His style constituted the deconstruction of letters and subtly layering them on the canvas. In his reimagining of Arabic script, transforming it from mere representation to a focal element within his compositions, Hammad invites viewers to visually engage with the interplay between language, form and meaning.
The present work, painted in 1986, epitomises the convergence of Hammad’s abstract experimentations with Arabic script into the fabric of his compositions. Titled Wa In Shakartum Laazedannakm, a verse from Surah Ibrahim translated as “If you are grateful, I will surely give you more”, the piece invites contemplation through its spiritual undertones. The choice of text not only echoes the Holy Quran as the artist’s source of inspiration but also imbues the piece with a compelling sense of divinity and mystery. Hammad’s geometric arrangement creates a striking visual pattern, where letters seem to dissolve into the background. Through a palette of blues, he explores the full spectrum of this colour, with each shape painted with distinct tonal variations. An unexpected burst of yellow punctuates the composition, drawing the viewer’s eye toward this source of “light”. The contrast of colours and the fluidity of the letters create an expressive message in his balanced composition.
Hammad’s style underwent significant transformations over the years, ultimately culminating in a series of works that espouse Arabic calligraphy with geometric abstraction. Emerging as the artist of a burgeoning Syrian art scene, Hammad embraced the Hurufiyya movement, adopting a distinctive approach to abstract calligraphy. His style constituted the deconstruction of letters and subtly layering them on the canvas. In his reimagining of Arabic script, transforming it from mere representation to a focal element within his compositions, Hammad invites viewers to visually engage with the interplay between language, form and meaning.
The present work, painted in 1986, epitomises the convergence of Hammad’s abstract experimentations with Arabic script into the fabric of his compositions. Titled Wa In Shakartum Laazedannakm, a verse from Surah Ibrahim translated as “If you are grateful, I will surely give you more”, the piece invites contemplation through its spiritual undertones. The choice of text not only echoes the Holy Quran as the artist’s source of inspiration but also imbues the piece with a compelling sense of divinity and mystery. Hammad’s geometric arrangement creates a striking visual pattern, where letters seem to dissolve into the background. Through a palette of blues, he explores the full spectrum of this colour, with each shape painted with distinct tonal variations. An unexpected burst of yellow punctuates the composition, drawing the viewer’s eye toward this source of “light”. The contrast of colours and the fluidity of the letters create an expressive message in his balanced composition.