OF OVERTONES AND ORIGINS: Moments with Ayad Alkadhi
On Ayad Alkadhi’s canvas, opposites hold court: Past and present, East and West, tradition and rebellion. Born in Baghdad in 1971 and now based in New York, Alkadhi has spent a lifetime navigating cultures, identities, and histories – both personal and collective. This duality is imprinted in his work, where Arabic calligraphy, layered textures, and bold compositions serve as both deeply personal expressions and reflections of the socio-political landscapes that have shaped him.
Ayad’s pieces, exhibited in renowned institutions like Honolulu Museum of Art, Station Museum of Contemporary Art in Houston, Texas, Nevada Museum of Art, to name a few, do more than tell stories, they demand engagement. Whether exploring themes of exile, power, or resilience, his art is a testament to the emotional weight of displacement and the enduring influence of heritage.
A self-proclaimed overthinker, Ayad possesses an innate ability to unravel layers and nuances that others might miss. His mind is a storm of thoughts in which he admits overindulging, always dissecting, revisiting and reimagining. While he admires the quiet strength of stoicism, he finds himself drawn to social extroversion, a quality he wishes to acquire. This tension between introspection and outward expression mirrors the themes of his work, where personal narratives intertwine with broader political realities.
In this conversation, we explore the inspirations behind his practice, the role of calligraphy in his visual language, and the fine line he navigates between personal expression and political commentary. Through it all, Alkadhi remains, at heart, a storyteller—one who seeks to leave behind a body of work that captures, with raw honesty, the emotions and thoughts that shape his world.
Who do you paint for?
Myself first, the viewer second. That might sound self-centered, but art is fundamentally an emotional expression and reaction. An artist must look within first, understand and process their own emotions before they can translate them into a tangible, outwardly form for others.
What is your dream project?
My dream project is a museum exhibit that unites a diverse collection of both my earlier and recent works, focusing directly on the evolution of work and narrative, and highlighting the common threads that weave them together.
What fuels your artistic vision, and how do your interests outside of art feed into your work?
Thematically, my work delves into the human condition, exploring its complexity – its struggles and emotions. Visually, I am captivated by composition, color, and space – the dynamic interplay, balance, or disruption of elements. Everything I engage in, from the books I immerse myself in, to the places I journey to, inevitably weaves its way back to the canvas in some form.
Although political themes are deeply embedded in his work, Ayad does not approach them as undertones, rather describing them as political "overtones," a natural consequence of growing up in a politically charged environment.
Do you guide your audience to interpret your art the way it’s meant to be seen, or do you leave it up to the beholder?
Until it leaves my studio, my art and its interpretation belong solely to me. But once it’s out in the world, it belongs to the beholder. Good art should speak directly to the viewer, without the artist, curator, or gallery acting as intermediary.
Which was your first series and when?
My first cohesive series was created almost thirty years ago, titled One Last Arabian Night. It was influenced by a fusion of artistic movements, such as Orientalism, Egyptian eighteenth dynasty artifacts, art-deco, and Viennese Secession. This series marked a significant milestone in my creative journey. I consciously scavenged visual references and inspirations from the diverse artistic influences to create my own version of the story I wanted to tell.
How would you describe your style? Has it changed over the years?
Objectively, my work is divided into two distinct visual styles. The first focuses on Middle Eastern political and cultural themes and employs Middle Eastern and Islamic visual references such as calligraphy, designs, and motifs. This style is reflective of my heritage and my deep interests in Middle Eastern culture and politics.
The second style is more Western in its presentation. Visually, these works are influenced by art movements such as Neoclassicism, Baroque, and the late Renaissance (Mannerism). Thematically, they comment on universal concepts of humanity, equality, and justice, exploring how these ideas evolve, adapt, and sometimes distort in our contemporary world under the influence of politics, economics, and power dynamics.
My style did not change; it simply branched out and expanded into different visual territories and narratives. In essence, my work is a reflection of me—an individual who has lived half of his life in one culture and the other half in another.
Do you have a favorite artwork?
I have a soft spot for every work and series I’ve created—each is a time capsule of the thoughts, emotions, and circumstances that shaped it. But if I had to choose, I Am Baghdad stands out as a favorite. It was the perfect storm where everything aligned—theme, story, composition, color. There was also an element of spontaneity that made the process feel raw and immediate. I keep returning to I Am Baghdad because it’s the work that feels most personal, yet at the same time, it speaks to something much larger: culture, country, and the weight of personal history.
Asked about cherished possessions from his life in Iraq, Ayad believes that the real treasure lay in his childhood memories, the warmth of his grandparents, the laughter of family gatherings, and the comfort of his home in Baghdad.
Of all the cities you have lived in – besides Baghdad – why did you choose New York to settle in?
I believe cities are like people. Some you like, some you don’t, and then there are those you fall in love with. From the very beginning, I fell in love with New York, and that feeling has never wavered. Its vibrant energy, unyielding grit, rich culture, and remarkable diversity continue to move and inspire me.
What do you cherish most about your background and the culture that has shaped you? How has that influenced your artistic style?
While I deeply appreciate and admire the personal freedoms and the emphasis on individuality in Western cultures, I must say that the strong familial ties and tight-knit communities are among the most cherished attributes of Middle Eastern culture. The incorporation of calligraphy and Middle Eastern themes in my work is a direct reflection of my Middle Eastern heritage
Mastering his art has required Ayad to develop certain skills, but perhaps the most important one has been learning to let go of the false notion of perfection, to release the need to control every outcome and embrace the imperfections that make art authentic. Another palpable skill he has honed is calligraphy, in which he is self-taught, having deliberately avoided learning the academic rules of the craft. He felt that once those rules were internalized, they would be harder to break. By not being fully indoctrinated, he has allowed himself more freedom to push boundaries and approach calligraphy with an instinctive, fluid style.
What drew you to calligraphy?
Calligraphy is inherently lyrical, it embodies rhythm, flow, form, structure, and composition. Steeped in rich history and culture, it is a profound art form. It saddens me that it hasn’t been given its rightful platform and spotlight in the contemporary Arab art scene. My grandfather, Dr. Jamil Said, was a professor of Middle Eastern literature and poetry. I suppose that my deep affinity for calligraphy is a reflection of my profound attachment and admiration for him.
Art is quite the departure from your field of study (engineering). Can you tell us more about that? When did you stop wanting to be an engineer?
Regarding engineering, I never actually wanted to be an engineer. Studying engineering was a necessity rather than a choice. Growing up in a war-torn environment meant creative prospects were extremely limited, so pursuing art didn’t seem like a viable option at the time. Looking back, it was a wonderful gift that I didn’t initially want, yet its rewards continue to this day.
What are you working on at the moment?
Currently, I am working on a new collection of work for an upcoming solo exhibition at Leila Heller Gallery this fall.
Do you have a favorite book? A favorite author?
I would have to say that The Alchemist by Paulo Coelho. It seems to be eternally by my bedside. Like Gibran’s The Prophet, with every re-read, it conveys a new element of wisdom that one had missed the time before.
Do you have a hero of fiction?
Gilgamesh. I have a thing for flawed heroes who are schooled by life’s tough lessons and arduous challenges.
When did you realize that you have artistic proclivities?
Early childhood. Four or five years old. I was punished for drawing an airplane on the wall behind the living room door!
What do you seek to achieve as an artist?
A trail of good work that faithfully represents the emotions and thoughts of the topics I have chosen to depict.
Instinct over instruction. Honesty. Reckoning, These aren’t ideals that Ayad Alkadhi chases after, they’re the undercurrents that guide his practice. He paints for himself first, without calculation. He won’t ask you to decode his work, and he won’t pretend it holds answers. But he will expect you to pause and ponder. To stay with it a little longer. And you will, because you can’t help it.
Somewhere between the calligraphic and the abstract, between what’s told and what’s withheld, a truth is revealed. One that stays with you long after you’ve looked away.
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