Music Of Nature And the Fight For Female Visibility. Meet the Artist Lana Khayat

by Alexandra Mansilla

Music Of Nature And the Fight For Female Visibility. Meet the Artist Lana Khayat

17 Feb 2025

"The Garden of Bustan" / "The White Lilies of Marrakech: Women as Timeless Narratives" by Lana Khayat

"A fusion of nature and abstraction, history and reinvention, a visual language that honours the past while reimagining the present" — this is how Lana Khayat, a Lebanese artist, describes her work. But to truly capture its essence, let me add my own impressions — words that come to mind as I look at her paintings: captivating colours, flowers, strength, and details, details, details. Her meticulous approach is mesmerizing; sometimes, it is hard to imagine how many hours she spends painting intricate scripts, shaping each flower, or carefully rendering every blade of grass.

On February 19, Lana Khayat’s solo exhibition, "The White Lilies of Marrakech: Women as Timeless Narratives", opens at Hafez Gallery in Jax District, Riyadh. The exhibition is an artistic exploration of femininity, cultural memory, and linguistic heritage. Layer by layer, Lana builds a world where nature, heritage, and abstraction intertwine, creating a space that celebrates the strength and resilience of women. Her work isn’t just something to observe — it is something to step into, a visual and emotional experience that lingers long after you leave.

The exhibition will run until March 25. And here is Lana’s story — dive into it before you go!

— Hi Lana! You come from a family of artists. Could you tell me more about everyone?

— Art has always been a part of my lineage. My great-grandfather, Mohamad Suleiman Khayat, was a master craftsman specialising in the restoration of traditional Syrian Ajami rooms his work is now housed in institutions like the Metropolitan Museum of Art in New York and the Shangri La Museum of Islamic Art in Hawaii. His artistry laid the foundation for my creative path.

His work was not just decorative; it carried history, identity, and meaning. That philosophy influences how I approach my own work, layering symbols, textures, and histories to create pieces that are not only visually compelling but also deeply rooted in cultural narratives.

While I am the first woman in my family to pursue a career in the arts, I believe my work continues a legacy of storytelling and craftsmanship that has been passed down for generations.

— How did your artistic journey begin?

— It began organically. I was always drawn to creative expression, constantly sketching, painting, and exploring textures. My early exposure to traditional craftsmanship, combined with my studies in design and fine arts, helped me shape my visual language. Over time, I realised that art wasn’t just something I did; it was a way of understanding the world and communicating stories that might otherwise go unheard.

“Seda Salvage Roja”, “Seda Savage Azul” by Lana Khayat. Instagram: @lanakhayatstudio

— Was there a defining moment when you realised you wanted to become an artist professionally, or was it something you always knew from the start?

— I always felt it, but the defining moment came when I moved to New York for my Master’s in Fine Arts at the School of Visual Arts. The city’s energy, its creative pulse, and my time working at the Guggenheim Museum pushed me to embrace my voice fully as an artist. That experience solidified my decision.

— You once said: “As the first woman in my family to thrive in a lineage where success was traditionally attributed to men, my art challenges inherited expectations and reclaims space for women’s voices.” Can you share more about what that dynamic was like in your family? What roles did women traditionally have, and how did those expectations shape your journey?

— In my family, artistic skill was revered, but the pursuit of art as a profession was historically reserved for men. Women had strong roles in shaping our cultural and familial identities, yet their creative contributions often remained unseen. Stepping into this space as a woman meant breaking certain expectations, redefining what was possible, and creating my own narrative. My work actively reclaims that space it is an assertion that women’s voices, stories, and artistry belong in the public sphere.

— Do you remember the very first artwork you created?

— I do. It was a simple yet expressive sketch of a tree when I was very young. I remember being fascinated by its branches and how they stretched in different directions, both fragile and strong. In many ways, that sketch set the foundation for my ongoing dialogue between nature and abstraction.

— In your interview with ELLE Arabia, you mentioned that your work is "deeply rooted in the profound philosophy of Sufi poetry." How does Sufi poetry influence your artistic expression?

— Sufi poetry speaks of transcendence, duality, and the fluidity of existence concepts that deeply resonate with me. The idea that the divine can be found in nature, in language, and in the unseen informs my work. I see my paintings as visual poetry, where shapes, scripts, and colours communicate beyond words, much like Sufi verses do.

— You have spoken about how your time in NYC deeply shaped both the artist and the person you are today. Could you elaborate on that? What changed in you — both as an artist and as a person — before and after NYC?

— New York was transformative. It forced me to embrace my individuality while also immersing me in an incredibly diverse artistic community. I learned how to navigate the challenges of being an artist, to find strength in vulnerability, and to be unapologetic in my expression. Before New York, I was still searching for my voice; after, I knew exactly what I wanted to say.

"Wilderness" (2022) by Lana Khayat

— In 2023, you exhibited your work at Cromwell Place in London during the “Lebanon, Untitled” exhibition. Can you tell me more about the piece you showcased? The dominant blue and green colors — what do they represent?

— Blue and green are central to my practice. They symbolise nature, water, and renewal. In that particular piece, they reflected both the serenity and depth of memory, tying back to themes of cultural heritage and identity.

— You also participated in a panel discussion at the exhibition, where you spoke about the challenges of finding space and legitimacy as a female artist. Could you share more about that? What obstacles have you faced in your journey?

— The art world still carries biases, especially for women from the Middle East. Gaining recognition, securing opportunities, and navigating institutional spaces require persistence. I have had to carve my own path, but that struggle fuels my commitment to amplifying women as voices through my work.

My journey as an artist has been about carving a space where women’s voices are not just present but central. While I inherited a rich artistic legacy, it was one shaped by male craftsmanship, leaving me to redefine my place within it. I had to assert my vision not as a passive continuation of tradition but as a reimagining of it.

Moving between Beirut and New York, I found myself drawn to abstraction, where history meets reinvention. Through organic forms, ancient scripts, and structured compositions, I developed a visual language that amplifies the resilience of women. The lily, a recurring motif in my work, symbolises this transformation, graceful yet strong, rooted yet ever-evolving.

My struggle to establish myself mirrors the broader fight for female visibility. The scripts I weave into my work, whether Phoenician, Tifinagh, or stitched embroider,y are more than symbols; they are acts of reclamation. Through them, I say: we were here, we are here, and we will continue to shape history through art.

“The White Lilies of Marrakech: Women as Timeless Narratives” by Lana Khayat

— Your upcoming exhibition at Hafez Gallery, "The White Lilies of Marrakech: Women as Timeless Narratives" — what is it about? What themes are you exploring?

— It explores the resilience of women through nature, script, and abstraction. The white lily is a central motif, symbolising transformation and empowerment. By intertwining Tifinagh's script with floral and geometric compositions, I create a space where language, identity, and femininity converge.

— One of the team members at Mariana Wehbe Public Relations, the amazing Rola Mamlouk, said that the works you created for this exhibition are truly special. Can you tell us more about them?

— This series feels deeply personal. It represents a maturation in my practice, both technically and thematically. The works are layered, intricate and demand close engagement. They hold histories within them, but they are also an invitation for reinterpretation.

"Indigo Manuscripts", "Between Bloom and Form". “The White Lilies of Marrakech: Women as Timeless Narratives” by Lana Khayat

— Rola also mentioned that you have a beautiful story about your time in Marrakech. Can you share it with us?

— Marrakech was a revelation. Wandering through Jardin Majorelle, I was struck by how spaces carry memory. That experience solidified my exploration of gardens as metaphors for storytelling. Stories, like plants, are rooted yet constantly evolving.

— Your works incorporate ancient scripts like Tifinagh and Phoenician. What first drew you to these symbols, and how do they shape your visual storytelling?

— I was fascinated by their historical weight and visual rhythm. These scripts carry stories of identity and migration, much like women’s narratives across time. My work gives them a new life, allowing them to evolve beyond their origins.

— Your pieces are incredibly intricate, with fine details that seem to take a long time to create. What was the longest piece you have ever worked on?

— There is one piece in this exhibition that took nearly a year. It is called “Echoes of ephemeral whispers”. The layering process, the fine details, and the emotional weight it carried made it a journey in itself.

Working on “Seda Savage Azul”. Source: lanakhayat.com

— I have found the description of you: “All her life, she has believed that nature has music for those who are willing to lend an ear and as an introvert, she has found herself fluent with nature rather than mankind.” What music do you hear?

— The rhythm of waves, the whisper of wind through trees, the silence of desert dunes. Nature’s music is in its stillness and movement, its contrasts and harmonies, just like my work.

— How would you describe your artistic style in your own words?

— A fusion of nature and abstraction, history and reinvention, a visual language that honours the past while reimagining the present.

by Alexandra Mansilla