Artist Nayla Romanos Iliya will be present at the Corm Foundation on Thursday, June 8, for an exclusive book signing event of her latest work, The Phoenician Alphabet. The event offers an excellent opportunity to personally meet the artist and obtain a signed copy of the book. The text of the interview was originally published by Agenda Culturel.
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Could you provide insights into the creation of this book and the approach taken to design its content?
This is my first venture into the world of publishing. The book came to life thanks to the support and guidance of Rose Issa, a well-known figure in the art world. With over 30 years of experience, Rose has been tirelessly promoting artists from the Middle East and North Africa to Western audiences through exhibitions, film festivals and her publishing work.
Rose opened my eyes to the importance of documenting my work, as she encouraged me to start with my first series of sculptures, inspired by the Phoenician alphabet.
Together, we started planning the book, making a conscious choice to keep it short. The book combines photographs of the sculptures with written explanations to enhance the comprehension of the art’s background and context. It was a challenging task but also an opportunity for me to revisit, adjust and work with photographs of my early sculptures, most of which I no longer possess. The book is thoughtfully divided into four sections, each exploring characters, words and concepts along with a special section dedicated to the 22 letters of the Phoenician alphabet.
This book is the product of hard work, passion and thoughtful planning. It invites readers to not only view the art but to delve into the history and inspiration behind it, making for an enriching and eye-opening experience.
What are your expectations regarding the emotions and insights that readers will experience when they explore your book and discover your sculptures?
I love engaging with people, and I find immense joy in sharing what fuels my creative spirit. As detailed in the book, public art projects have afforded me the privilege of connecting with a diverse spectrum of individuals. Given the scarcity of museums in Lebanon, passers-by seldom identify as art aficionados. In such scenarios, witnessing my work ignite interest or stir emotions is an immensely gratifying reward for me.
In contrast, the book appeals to a decidedly different audience. The prospective reader is presumed to be not only interested but also receptive, likely well-versed, and possibly having a discerning taste in art. The amalgamation of a collection of artworks, complemented by writing varied viewpoints, is undeniably a significant advantage for gaining insights into my journey and approach. I fervently hope that those already familiar with my work will unearth deeper layers, fostering a more enriched appreciation. In all cases, the book serves as an invitation to engage in dialogue, provoke reflective thought, and, above all, partake in the sheer pleasure and emotions encapsulated within its pages.
Do you think this book will have a similar resonance both in Lebanon and abroad?
One might intuitively assume that the Lebanese populace, as well as countries where Phoenician colonies have etched their historical imprints, would be particularly attuned to this sculpture series given its deep-seated resonance with their heritage. However, the book aspires to traverse far beyond these confines. It is a matter close to my heart to underscore that the Phoenician alphabet is the precursor to a majority of modern alphabets in use across the globe today, encompassing Arabic and all languages that have evolved from Latin. In 2005, UNESCO enshrined the Phoenician alphabet within the tapestry of its “Memory of the World Programme” as a cultural heritage of Lebanon. Regrettably, this momentous contribution to the annals of human civilization is neither woven into the fabric of local educational curricula nor accorded due prominence in cultural practices within Lebanon or abroad.
Ancient language wields an elemental potency, and the Phoenician alphabet, employed over three millennia ago, is among the venerable echelons of written communication. My rendition of its 22 letters is a deeply personal voyage aimed at unearthing this latent power and reinvigorating the essence of these symbols, whose antiquity is nearly synonymous with the genesis of human civilization. The ensuing creations, whilst retaining an immediate semblance to the original symbols, are imbued with layers of meaning that bridge the chasm between antiquity and contemporaneity. Crafted through the prism of contemporary modes of representation and abstraction, they pay homage to Lebanon’s rich cultural lineage while exuding a universal allure in their modernity, finding resonance across the globe. Breathing new life into this alphabet has served as a form of catharsis for me, amidst ambivalent sentiments toward Lebanon and a quest for identity ensuing from decades spent traversing diverse landscapes. In a juncture where Lebanon is beleaguered by extensive problems, I endeavor through this book to disseminate a poetic and sanguine vision that I hope will cascade across and touch readers irrespective of their historical, cultural or geographic tapestries.
