Calligraphy was to me what constitutes the history of cinema and theatre in Tunis during the seventies: a long and winding road, transporting me from the most absolute discovery into complete deepening. When I stopped dedicating myself to these thoughts, I went back to my ancient passions, writing and arabesque; I progressively devoted myself to calligraphy, which was according to me , the only and the most perfect detonator of my poetic and pictorial passions. This was my wish. We can even say, that calligraphy had been the ark where I went during my journey, regardless of which of my esthetic passions were involved. After a promising start and an increasing success, I began with exhibit regularly in trade fairs and Parisian galleries. I, for certain, consider calligraphy to be the major arts of arabo-Muslim civilization; to me, it lies in that calligraphy transmits kinds of multitude of messages and connotations, which are not only linked to features and arabesque, but decisively, are linked to the spiritual dimensions. These spiritual dimensions are typically hers, and that makes calligraphy the absolute dean of Muslim art. Arabesque art can fundamentally recreate all artistic creation, whether it is pictorial or architectural. Doing calligraphy becomes the major gesture in order to draw the ideal progression, which will lead to a measured and depended creativity, giving an opening on all the world of aesthetic and creativeness. As a clarion call, I send you this modest message from the bottom of an isolated marsh, in the silent of midday, underneath the radiant sun of September: If sometimes, you want to warm my soul and heart, send me feathers and calames.
