The practice of calligraffiti appears to have begun in the Middle East and North Africa in around the 1950s, when local artists, searching for a visual language that expressed their national identity and heritage, began incorporating Arabic letters, as a graphic form, into their artworks.
Straight calligraffiti refers to the use of calligraphy without the rules of proportion while pseudo-calligraffiti is a total abstraction in which the letters may or may not be legible. Īli also makes a distinction between calligraffiti and pseudo-calligraffiti. Instead, they go beyond a simple transformation of Arabic or English-language words into visual compositions, and invent new languages.
Calligraffiti artists are not confined to the use of actual letters.
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Whereas, traditional calligraphy in the Islamic world is bound by very strict rules, not the least a prohibition on using representations of the human form in manuscripts, calligraffiti artists break free from such rules and allow themselves to reshape and deconstruct letters as well as to combine them with other symbols and figures in creative ways. Ĭalligraffiti is distinguished from other styles of calligraphic art (such as Pure Calligraphy, Neoclassical, Modern Classical, Freeform, Abstract calligraphy, Calligraphic Combinations and Unconscious Calligraphy) in that it has no rules and artists require no formal training. Ali locates calligraffiti art as a distinct style within the School of Calligraphic Art (also known as the Hurufiyya movement). Pioneer artists in this style include: Hassan Massoudy, Hossein Zenderoudi and Parviz Tanavoli. She defined calligraffiti as the use of "script of ordinary writing where the work is composed of the artist's personalised handwriting within a modern composition." Ali wanted to use the term because she saw this type of art as being inspired by calligraphy yet, also close to the scribbling of graffiti artists. Jordanian artist and art historian Wijdan Ali also used the term, "calligraffiti" in her book, Modern Islamic Art: Development and Continuity, (1997) to describe a style of art that had been flourishing across the Middle East and North Africa from the mid-20th century. The term was also used in a book about post-modernism, Spirits Hovering Over the Ashes: Legacies of Postmodern Theory by H.L. The Canadian painter, Brion Gysin used the term in his final exhibition, Calligraffiti of Fire held at the Galerie Samy Kinge in Paris between 19 April and 19 May in 1986 and the term was also used as the title of the book which accompanied Gysin's exhibition. The use of the term predates the contributions of Niels Shoe Meulman by at least thirty years. Trinh has since been a sponsor of this art movement through her Atlanta based production company Denim Dragons. Showcasing artist Andy Lee, the term was then synonymous with Lee’s “Degenerate Asian Art”. In 2002, Trinh resurfaces with “Calligraffiti” through the endorsement of Tiger Beer Intl during their U.S. Her most popular work came in the form of a commission of smaller pieces through the Levy Restaurants for the opening of their pan-asian Fusion concept Eurasia located on Chicago’s Gold Coast in 1990. While attending the School of the Art Institute of Chicago, Trinh created murals all over Chicago which were influenced by Keith Haring, Georgia O’Keefe and her Chinese roots. In 1988 Q Trinh created the term in Chicago, Illinois. On the other hand, basic shapes and splats become language."' … letters, writing and language itself becomes an image or abstraction. An even balance between seeing and reading word and image. Meulman describes calligraffiti as "traditional handwriting with a metropolitan attitude" and a "way of translating the art of the street to the interior of museums, galleries and apartments." In an interview he explains the technique itself as "directness in the whole, finesse in the details. The Dutch artist Niels Shoe Meulman is often incorrectly credited with coining the term in 2007, when he used it as the title of his solo exhibition. Wall mural, composed of Arabic letters, in a public street, Assilah, Morocco, 2013 3 Calligraffiti: between Middle East and West.1.5 Calligraffiti: calligraphy of the 21st century.1.4 Arabic calligraphy as historical background.1.3 Calligraffiti in the Middle East and North Africa.
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