The Artist Who Calls Us To Wake Up: Interview With Karim Jabbari

by Sophie She

The Artist Who Calls Us To Wake Up: Interview With Karim Jabbari

1 Mar 2025

Karim Jabbari making calligraphy during his art residency in Dubai; Photo: Grigoriy Yaroshenko

From January 29 to May 30, 2025, Inloco Gallery in Dubai presents Vertical Horizon / 361 Degrees, a solo exhibition by renowned artist Karim Jabbari. As the final chapter in a three-part exploration of lost tradition and urban nostalgia, this exhibition blends calligraphy-based artworks, light installations, and photography to examine the intersection of heritage and modernity.

Jabbari, born in Tunisia and shaped by global migration, discovered his passion for calligraphy through ancient Arab manuscripts preserved by his father. His work is influenced by classical and contemporary literature, including Ibn Khaldun, Aboul-Qacem Echebbi, and George Orwell, as well as modern figures like Yasiin Bey. Using diverse artistic techniques, he layers calligraphic gestures, superimposes texts, and employs a monochromatic palette, with gold and copper symbolizing human connection.

Recognised among the Top 30 Public Artists by the International Award for Public Art (IAPA), Jabbari has exhibited worldwide, with installations in prestigious cultural institutions. This interview delves into the inspirations behind Vertical Horizon / 361 Degrees and the deeper messages embedded in his work.

In this exclusive interview, Jabbari delves into the inspiration behind Vertical Horizon / 361 Degrees, his artistic process, and the profound messages embedded within his work.

VERTICAL HORIZON / 361 DEGREES Solo exhibition by Karim Jabbari at Inloco Gallery

— Why 361 Degrees?

— The title itself is meant to provoke thought and curiosity. When people hear it, they immediately ask, "Why 361?" rather than the expected 360 degrees. It is inspired by a song I listened to as a teenager, created by the French rap group IAM. Their poetic lyrics have always stayed with me, reinforcing my belief that poetry has the power to travel through time. Hip-hop, to me, is the modern-day form of poetry, and I have always found ways to integrate its essence into my artistic expression. The concept of 361 Degrees represents a crucial breakthrough — it signifies stepping outside the familiar 360-degree cycle of routine and conformity. That extra degree is a conscious action, a moment of realization when you choose to break free from the loop and see the world differently. It is about awareness, about taking a step beyond what is expected, and that is exactly what I want my art to encourage.

— So, you would say your art is a calling?

— Absolutely. My art is about waking people up. Our whole life now is about separating people from each other — headphones to not to talk to strangers, flats to not to know your neighbours. My art is about that 1 degree, the breakaway that gives you a chance to rethink everything.

Photo: Grigoriy Yaroshenko

— Your work in "Vertical Horizon / 361 Degrees" explores urban nostalgia and tradition in modern Dubai. What initially drew you to this theme?

— I have always been passionate about preserving cultural identity within urban spaces, a passion that led me to found the Streets Urban Festival in Tunis. Through this project, I wanted to explore the layers of tradition and nostalgia within Dubai’s rapidly evolving cityscape. Dubai is known for its futuristic skyline and luxury, but beneath that, there is an older, more intimate version of the city that many overlook. My time in Al Satwa, an area brimming with community spirit and everyday interactions, was eye-opening. I saw a way of life that felt more connected, more human. That experience shaped the exhibition, leading me to reflect on how urbanization affects human relationships and the essence of the places we call home.

— The project begins with an art intervention in Al Satwa. Can you share a compelling story from that experience?

— One of the most memorable encounters I had was with Omar, a man who has lived in Dubai for 35 years. When I met him, he welcomed me into his home, and what I saw was a deeply personal, yet shared space. The room was filled with bunk beds, each space adorned with personal belongings — photographs, trinkets, small mementos of home. These weren't just sleeping spaces, they were fragments of entire lives condensed into small corners. There was an outdoor kitchen barely wide enough for a single stove, yet it served multiple people daily. Despite the limitations, there was warmth, a sense of community and resilience. This inspired one of my most personal artworks within the series. I created a piece from inside Omar’s home, with the door open, so the words I wrote in calligraphy extended from the inside out, symbolising the connection between personal and communal life. These small yet significant human experiences are what I strive to capture through my work.

VERTICAL HORIZON / 361 DEGREES Solo exhibition by Karim Jabbari at Inloco Gallery

— How does your collaboration with Khalil Abdulwahid and Huda Smitshuijzen AbiFarès influence your artistic process in this project?

— Collaboration is essential to growth, and working with Khalil and Huda brought valuable dimensions to this project. Khalil’s understanding of Dubai’s evolving art scene helped shape the dialogue around the exhibition, while Huda’s expertise in Arabic typography provided a bridge between traditional and contemporary calligraphy. We exchanged ideas about how language, design, and urban life intersect, and this interplay is reflected in the artwork. They both helped push my creative boundaries, allowing me to incorporate deeper layers into the project.

— Light calligraphy plays a significant role in your live performance. How did you discover this medium?

— Light calligraphy found me when I was searching for ways to bring movement into my street art. As a street artist, I often faced the challenge of working under the cover of darkness, avoiding authorities while creating something meaningful. That led me to experiment with light painting, a technique that felt natural and limitless. My first camera was a Sony, which I bought with money I had set aside for rent — I took a risk, and it paid off. With light calligraphy, I could write in the air without leaving a physical trace, making it a perfect fusion of graffiti, photography, and calligraphy. What makes it so challenging and thrilling is that I can’t see what I’m writing as I create it. The result is only revealed once the camera captures it, adding an element of surprise and imperfection that I love.

VERTICAL HORIZON / 361 DEGREES Solo exhibition by Karim Jabbari at Inloco Gallery

— What are your favourite pieces?

— Selecting from the presented ones, I would say I love Interdimensional Mind Control (2025), as it isn't what it seems at first sight. And The Place We Love To Return To (2025), as I really do love that place.

— What do you hope audiences take away from "Vertical Horizon / 361 Degrees"?

— Above all, I want people to pause and reflect. I want them to reclaim their awareness of the world around them — their relationships, their communities, their histories. We live in a time where digital distractions and urban isolation make it easy to forget what truly matters. This exhibition is a reminder that human connection is essential, that the spaces we live in hold meaning, and that change should not come at the cost of losing our sense of self. Whether through the beauty of the visuals or the deeper narrative woven into the work, I hope it sparks curiosity, dialogue, and a renewed appreciation for the world we inhabit.

by Sophie She