2022. One-of-a-Kind.

6.5. x 4 x 2.5 inches. Cyanotypes on paper and pen drawing, museum board, stiff leaf binding structure. Signed, numbered, and dated by the artist.

Islam Aly: "’Transpose 4’ is a one-of-a-kind artist book investigating talismanic shirts, constellations, and magic. Each book page is a unique cyanotype print, showcasing detailed illustrations that draw on a rich vocabulary of religious texts, sacred invocations, symbols, and magic squares.

“The book offers a fascinating exploration of talismanic shirts, worn for centuries as protection and guidance. Through the illustrations, viewers can appreciate these garments' rich symbolism, deep spiritual significance, and sense of magic and mysticism.

“’Transpose 4’ also features depictions of constellations and celestial figures, capturing the beauty and majesty of the cosmos. The cyanotype printing process adds depth and dimension to the illustrations, creating a sense of texture and contrast that evokes the celestial night sky.

“The book offers a unique and intimate viewing experience, with each page inviting viewers to explore the intricate details and hidden meanings within the illustrations."

2021. Edition of 30 variants + 5 proofs.

Book Size: 3x 4 x 2.7x 1.25. Laser-cut hand-made paper. Twelve sections of 3 folios per section. Handbound in laser engraved wooden boards with Coptic binding of linen thread and leather wrapping. Signed, numbered, and dated by the artist.

"Illuminations IV’ takes viewers on a journey through the intricate patterns and designs found in illuminated manuscripts. The book features a floral design in which the patterns increase and decrease in size from each side of the book, offering a new perspective and visual experience with every turn of the page and creating a sense of movement that echoes the delicate beauty of the floral patterns themselves. This layout makes sense of direction and depth, drawing the viewer in and inviting them to explore the intricate details of the patterns.

Bedaya
2019, Edition of 30, and five proofs.

4.5" diameter x 3.5"; thirty sections with four folios. 2" diameter x 0.75" miniature accordion books. Materials: laser-cut Fabriano and tracing paper, plexiglass mirror, laser-engraved wooden boards. Coptic binding with leather wrappings connected to seven small books, Signed, numbered, and dated by the artist.

Inception is inspired by stories and journeys of the refugees. It is a bilingual codex in English and Arabic. The book is based on the twelfth-century Persian verse poem "The Conference of the Birds" written by Farid Aldin Al-Attar. The poem is about the search for truth and integrity, which is parallel to the refugee's quest to re-discover themselves.

Birds meet to begin searching for their perfect king. But to find him, they need to start a difficult journey. The birds show their doubts and fears to their lead, the hoopoe. He encouraged and supported the birds to be confident, grateful, and honest. The birds start a wondrous journey that only 30 of them completes, they eventually recognize that their king is each of them and all of them.

The English text is adapted from Afkham Darbandi translation. The Arabic text is adapted from Badee Mohamed Gomaa Arabic translation “Manteq Al Tayr”. The bird images represented are from medieval Islamic artwork. Arabic Calligraphy is done by Abdul Karim and Sabri.

Inception was made as part of Swarthmore College’s Friends, Peace, and Sanctuary project. Major support for Friends, Peace, and Sanctuary has been provided by The Pew Center for Arts & Heritage with additional support from Swarthmore College Libraries, the Lang Center for Civic and Social Responsibility, the William J. Cooper Foundation, and the Andrew W. Mellon Foundation.

2018. Edition of 30, and five proofs.

Text Block: 40 sections laser cut mould-made Johannot paper, each section 4 folios, colored and laser engraved fore edges, laser engraved wooden covers, linen thread, Coptic binding with endbands 3.5 x 3.5 x 4.5". Signed and numbered by the artist.

In the Metamorphoses series, I am focusing on Islamic art and design. I want to reveal how patterns develop and morph in a book that makes the viewer experience their beauty, elegance, harmony, intricacy, and complexity.

2018. Variable Edition of 30.

Cave handmade flax paper, laser cut mould-made Johannot paper hexagon folios. Pochoir, linen thread, three hole double pamphlet in an accordion binding 3.5 x 5 x 0.5" (45" extended). Signed and numbered by the artist.

In the Metamorphoses series, I am focusing on Islamic art and design. I want to reveal how patterns develop and morph in a book that makes the viewer experience their beauty, elegance, harmony, intricacy, and complexity.

2017, Edition of 30, and five proofs.

3 x 6 x 2"; 15 sections with three folios. Laser cut Mould-made Johannot paper; laser engraved wooden boards, late Coptic binding with leather wrapping bands and wooden clasps. Signed and dated by the artists.

Unleash records an angel's attempt to leave the book. A journey that starts with words about being confined and restrained, the angel appears and slowly makes a path through these words until succeeding to break the phrases and get out of the book. When the angel disappears from the book, the letters of the broken words start forming a human face.

By using a late Coptic binding with straps and clasps, the book structure echoes its content. One wrap has the angel on the wooden clasp; the other wrap has the human face.

2017. Edition of 30.

30 sections mould-made Johannot paper, Each section 4 folios, laser cutting, laser engraved Plexiglass covers, Hexagon 2.5 x 2.5 x 2.5 ". Signed and numbered by the artist.

In the Metamorphoses series, I am focusing on Islamic art and design. I want to reveal how patterns develop and morph in a book that makes the viewer experience their beauty, elegance, harmony, intricacy, and complexity.

2017. Edition of 30.

Laser cut Mould-made Johannot paper, 20 sections each section 2 folios. Laser cut and engraved wooden boards, Coptic binding with linen thread, 2 x 2 x 1.5 inch. Signed and numbered by the artist.

In the Metamorphoses series, I am focusing on Islamic art and design. I want to reveal how patterns develop and morph in a book that makes the viewer experience their beauty, elegance, harmony, intricacy, and complexity.

Metamorphoses 5 represents a square that morphs into a star. The patterns in the book are combined, duplicated, interlaced, and arranged in multiple combinations that are precise, beautiful, and symbolic.

2017, Variable Edition of 20

40 Folios, Laser cut handmade flax Paper, linen thread, Hand made flax covers, modified accordion binding, 2.5 x 6” (42” extended) Signed, dated, and numbered by the artist.

Cryptic Magic is an investigation into symbols. I am fascinated with their power and how they are given mysterious attributes to represent the spiritual. Some Ethiopian scholars see the origin of writing in symbols like these.

The book is presenting a vocabulary of signs and symbols to connect the physical and the emotional. Different Ethiopian symbols are laser cut on each page, their overlapping and intersection generate new meanings. The magnets embedded in the covers and the accordion structure allows the audience to interact with the book creating different connections between the symbols and compressing or extending the structure for more sculptural appearance.

2016, Edition of 30
Text Block: 3x 5.5 inch; 10 sections, Laser cut handmade flax paper, Laser engraved Plexiglass covers, linen thread. Signed, dated, and numbered by the artist.

Enigmatic Talismans is inspired from the symbols found in Ethiopian healing scrolls. Originally they were produced to provide live spiritual power in the physical world.

I find the various symbols captivating, fantastic creatures, faces, eyes, angels, and patterns that blur the line between traditional function and contemporary abstraction.

The paper is made from flax paper with deckle edges to have the appearance and texture of the parchment that was historically used in the Ethiopian scrolls. The covers are made from transparent Plexiglas that reveals the overlapping symbols, generating new meanings.

2015. Edition of 40
Flag Accordion Book. Laser cut handmade flax paper and Cave paper, Binders board, clear acetate, linen thread. 7 folds, two sets of 6 flags, 4.25 x 5.25 x 1 inches. 5.25 x 20 inches extended. Signed, dated, and numbered by the artist.

In the Metamorphoses series, I am focusing on Islamic art and design. I want to reveal how patterns develop and morph in a book that makes the viewer experience their beauty, elegance, harmony, intricacy, and complexity.

Metamorphoses 1 celebrate the growth and morph of a small star pattern. The geometric pattern can be equally thought of as both art and science. The pattern is based on the intersection of two equal squares. The patterns then are combined, duplicated, interlaced, and arranged in intricate combinations that are mathematically precise, aesthetically pleasing, and symbolic.

Al Midan
2014, Edition of 40, and five proofs.

4.5 x 4.5 x 2.5"; 20 sections with four folios. Mould-made Johannot paper. Colored and laser engraved edges. Bound in laser-etched wooden boards. Ethiopian and Coptic binding with linen thread.

Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most compelling symbol of the January and February 2011 protests. For 18 days, Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. "This book focuses on the revolution slogan 'al-sha`b yurid isqat al-nizam.' Using the Arabic Kufic script, the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation of the slogan 'The People Want to Bring down the Regime.' The last section contains the time and date when the regime stepped down and the sentence 'Al Saa'b Askat al Nezam' with its English translation 'The People have Brought down the Regime'. "Cairo's map is laser engraved on the book covers. Three edges of the book are colored and then laser engraved to show the streets of Cairo.

Edition of 30 and five proofs

2.6 x 2.6 x 3"; 30 sections with three folios. Mould-made Johannot paper. Colored and laser-engraved edges. Bound in laser-etched plexi glass. Two needle Coptic sewing and Coptic end bands with linen thread. Presented in a folding box with gilded wooden cube and magnetic closure. Box dimensions closed: 3.25 x 3.25 x 4".

Orientation Cube is inspired by The Kaaba, a cuboid building at the center of Islam's most sacred mosque, in Mecca, Saudi Arabia. It is the most sacred point within this most sacred mosque, making it the most sacred location in Islam. Wherever they are in the world, Muslims are expected to face the Kaaba when performing prayers. In addition one of the Five Pillars of Islam, every Muslim is required to perform the hajj pilgrimage at least once in his or her lifetime, if one is able. Multiple parts of the hajj require pilgrims to make circumambulation seven times around the Kaaba. A tiny black cube is positioned at the center of the inner back board, around which are concentric circles cut in the thirty sections of the book to reflect the process of circumambulation.

2014

Laser engraved edges, wooden covers, linen thread. Modified Ethiopian and Coptic binding with Coptic end band. 2.7 x 2.5 x 4.

2013

Edition of 20. Laser engraved edges, embossed leather covers, linen thread. Modified Ethiopian and Coptic binding, with Coptic end band. 2.5 x 3 x 4.5.

In “Crucial Perimeter-1,” I explore the dichotomy between what’s inside a book and what’s outside. The book has no text or images on its folios. When the book is closed, the viewer can see the content on three edges of the book, but depending on how the book is opened some of the content on the edges diffuses and becomes illegible, converting into traces of texture.

2013

Edition of 20. 2 x 2 x 3.5”. Laser cut handmade flax paper, linen thread, laser engraved wooden boards, Greek binding.

This book is an exploration of one Arabic letter “Ḍād” (ض), this is a very unique letter in the Arabic language because of it’s extremely unusual sound. Early Arabic grammarians described Arabic as the "language of the ḍād", since the sound was thought to be unique to Arabic.

40 different shapes of letter Ḍād are displayed in the book; each letter is laser-cut on a section of the book, for example, the very early Kufic scripts, the different styles of Arabic calligraphy, as well as multiple forms of fonts.

2013. Edition of 20 and five proofs.

6 x 8". Arabic calligraphy. Laser cut text. Handmade flax paper. Coptic and Ethiopian binding with Plexiglas covers.

The design of Marginalia 1 is inspired from Arabic commentaries that were written in different books. These commentaries have a unique shape, and layout. It usually would contrast with the geometrical design of the page. The commentaries played an important role in the transmission and transformation of knowledge. I wanted to show the beauty of their calligraphy on the handmade flax paper. I selected ten different pages for each of the ten sections. I used the laser cutter to cut each section and engrave the front cover. The sections were attached to the Plexiglas covers and sewn together using a two needle Coptic link stitch. Finally I sewed the end bands.

2013

One-of-a-Kind. 3.2 x 4.3 x 1.3 "; 10 sections with four folios. Handmade dyed flax paper. Pochoir, two needle Coptic sewing. Leather-covered embossed Islamic binding.

Marginalia 2 is inspired from Arabic commentaries that were written in different books. These commentaries have a unique shape, and layout. It usually would contrast with the geometrical design of the page. The commentaries played an important role in the transmission and transformation of knowledge. I wanted to show the beauty of their calligraphy on the handmade flax paper. I choose different parts of these commentaries and started repeating them on the page.