By Shajwan Nariman Fatah
Ismail Khayat (1944 – 2022) emerged as a paramount emblem of plastic arts not only within Iraq at large, but with special significance within the realm of Kurdistan. The concept of ‘plastic art’, originates from the term ‘plasticize’ or to ‘mold’, and essentially entails describing “any art form that involves the activity of modelling or molding into three dimensions. The most common example of plastic art is sculpture itself.” Khayat’s influence permeated the Iraqi artistic panorama and held an even more prominent stature within Kurdistan’s artistic landscape. He is aptly characterized as the mastermind behind the modern visual language within the realm of Kurdish plastic art. Initially, his artistic voyage adhered to the norms of the prevailing discourse within plastic art, echoing the trajectory followed by many artists of his generation. However, he soon embarked on a quest for alternatives, an exploration that was nurtured by the fertile Kurdish surroundings and subsequently led to his artistic evolution. Having joined the Society of Iraqi Plastic Arts in 1965, Khayat later graduated from the Teachers College at Baquba in 1966. In 1992, he assumed the role of art director at the Ministry of Culture in the Kurdistan Region.
Notably, Khayat achieved the distinction of being the creator of the world’s largest painting, an accomplishment that merited his inclusion in the “Guinness Book of Records.” This monumental work portrayed the expanse of the Kurdistan Mountain range extending from Koya Snjaq to Dukan in the Kani Watman regions. It is also essential to state that he is recognized as a trailblazer in contemporary Kurdish art, as he forged a unique artistic approach inspired by Kurdish folklore, symbolism, and Iraqi landscapes, and imbued them with the struggles and isolation experienced by the Kurdish community.
Utilizing a range of artistic mediums, Khayat crafted a portfolio of nearly 8,000 pieces throughout his lifetime. More than 100 of these artworks are currently showcased as part of the Sharjah Art Museum’s Lasting Impressions series, which highlights pivotal figures in the evolution of contemporary Arab art. While his primary medium was painting, Khayat notably veered into sculptural expression during the Kurdish partisan War in the 1990s. He crafted a significant series of boulders adorned with peace messages in the Pirar region of Kurdistan, alongside thousands of smaller painted rocks.
ismail khayat website
Beyond conventional symbols like the “Evil Eye and the Hamsa,” a hand-shaped emblem with an eye, Khayat frequently employed birds as metaphors for freedom and the fragility of existence. In a poignant series depicting the persecution endured by Kurds, he portrayed ethereal birds drifting away from lifeless bodies. Throughout his professional journey, Khayat presented his creations in numerous exhibitions spanning Iraq, the broader region, and the international stage. His artwork graced galleries in countries including France, the United States, Japan, and beyond. Additionally, he took on the role of art director within the Ministry of Culture for the Kurdistan Regional Government.
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Shajwan Nariman Fatah holds a Master’s degree in English language and literature, which was obtained from Near East University in Cyprus. At present, she fulfills roles as both a researcher and a lecturer at Charmo University in Chamchamal, Sulaymaniyah, Iraq. Furthermore, she is a lecturer at Near East University. Previously, she held a position as an assistant researcher at Charmo University. Her academic pursuits primarily revolve around literary theories, semiotics, history, modern philosophy, and the study of art history.
