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Golnaz Fathi (born 1972) is an Iranian contemporary artist[1][2] noted for her artwork in the hurufiyya tradition.

Golnaz Fathi
Tehran, Iran
EducationIslamic Azad University; Iranian Society of Calligraphy
Known forPainter
MovementHurufiyya movement

Life and careerEdit

She was born in Tehran and studied graphic design at Islamic Azad University, receiving a BA in 1995. She went on to study traditional Persian calligraphy, receiving a diploma from the Iranian Society of Calligraphy. Fathi was named Best Woman Calligraphist by the Iranian Society of Calligraphy in 1995..[3]

Fathi has developed her own abstract style derived from the practice of traditional calligraphy. Unlike traditional calligraphy, her painting features strong brushstrokes and vibrant colour. Although her work may include Arabic letters, Fathi wants it to be viewed as abstract images rather than as text.[1][3] For continuing the use of calligraphy in abstract designs, she is seen as part of the broader, hurufiyya art movement.[4] Art historian, Rose Issa, has described her work as that of a third generation huryifiyya artist. [5]

Her work has appeared in solo shows in London, New York City, Shanghai, Dubai, Kuwait, Bahrain,

HK, Singapore,Beirut and Paris. Fathi has been included in group exhibitions in the United States, the United Kingdom, India, Germany, South Korea, Switzerland, France, Jordan, Turkey, the United Arab Emirates, Italy and  Belgium.[3]

Her work is included in the collections of the Metropolitan Museum of Art, the British Museum in London, Carnegie Mellon University in Qatar, the Islamic Arts Museum Malaysia, the Asian Civilisations Museum in Singapore, the Devi Art Foundation in New Delhi and the Farjam Collection in Dubai.[3]

See alsoEdit


  1. ^ a b "The blend of traditional calligraphy with contemporary painting". Aesthetica.
  2. ^ "Iranian artist Golnaz Fathi presents abstract paintings rooted in Persian calligraphy". sundaram tagore gallery. October 4, 2015.
  3. ^ a b c d "Golnaz Fathi". London: October Gallery.
  4. ^ Treichl, C., Art and Language: Explorations in (Post) Modern Thought and Visual Culture, Kassel University Press, 2017, p. 3 and p. 149
  5. ^ Issa, R., Cestar. J. and Porter,V., Signs of Our Times: From Calligraphy to Calligraffiti,New York, Merrill, 2016