Through precision, passion and dedication, the prominent Iraqi calligrapher Wissam Shawkat has been practicing the time-honoured art of Arabic calligraphy for forty years. His flowing words have reached the hands of Apple CEO Tim Cook on an iPad and have literally soared to new heights on Burj Khalifa in Dubai. The rich Arabic script has always been Shawkat's life companion, which is the subject of his latest exhibition, entitled "Al Wissam Script," at Tashkeel Studio and Gallery in Dubai, on view until February 15. In particular, the exhibition showcases 51 of Shawkat's paintings, featuring his own take on calligraphy while respecting the basics of this historically revered art form.

Named by his followers on Instagram as "Al Wissam Script," Shawkat has been working on this modern style of calligraphy-meets-design writing for the past 22 years. It began for him back in 2004, when he was designing logos for notable regional brands and companies, such as banks and media outlets. They have also been shown in special projects around the world, including a metro station in Berlin. Shawkat, who has been living in Dubai since 2002, describes his namesake script as his way of experimenting with new shapes of letters in a modern, flexible, playful and kinetic manner.

“I didn’t decide to make a script," he told The Sandy Times. "It came organically in an honest way. It took its time to develop naturally, as a result of physically practicing it. It was all experimental. I didn’t have any rules and I didn’t think it would be a script. It was something fresh and my clients were choosing this style. I felt that I had some something different and I thought to myself, 'Let me continue.”

The displayed paintings feature thick and bold words that are sometimes written vertically, invertedly, or continuously repeated in a maze-like flurry. And then, there are other instances where he has incorporated them into abstract shapes, giving the letters a visual and artistic touch. His writings feature meaningful proverbs, poetry by Arab literary titans Nizar Qabbani and Mahmoud Darwish, or simply one word, such as 'love'. “My message is love — not necessarily romantic love, but love in general. It’s universal and no one can differ over it. After everything we have seen in the world, I think love is the most important thing,” he said.

Shawkat's experimental style has been admired by many but has also drawn criticism from purists and classical calligraphers, who, in Shakwkat's view, have "failed" in presenting something new in Arabic calligraphy. “The script that I made didn’t come from a void. My knowledge of other scripts, such as thuluth and diwani, affected me," he explained. "I was criticised for creating a script and giving it my name. I didn’t name it; it was the audience that did. It was a coincidence... I made a script, which people started using. I hope it lives on and maybe in 100 years, it will be a ‘classical’ script.”

As part of the exhibition's activities, Shawkat has given a number of workshops for calligraphy enthusiasts. While he acknowledges the dedication of young calligraphers, he also believes that they lack one essential virtue. “The problem with the new generation is their lack of patience. Calligraphy is based on patience, and if you don’t have it, then leave it," he added. He feels optimistic about the status quo and future of Arabic calligraphy, which has been included in UNESCO’s list of intangible cultural heritage.

In a digital era of high-speed modernisation, Shawkat’s opinion may come as a surprise as some believe that the practice of calligraphy is on a decline and isn't being properly taught in schools. “Honestly, my position is clear. I always say the same thing: Arabic calligraphy is living now in a golden age,” he said without hesitation. He backed his statement with the fact that calligraphic works are being acquired by collectors and institutions. In addition, exhibitions and biennales around the subject have been organised, particularly in the UAE. Social media has also been a key factor in nurturing the love of calligraphy, he added.

Aside from paintings on view, there are other cool exhibits, such as a table full of Shawkat's ‘behind-the-scene’ sketches. Until this day, he continues to practice the art of writing, comparing it to an athlete warming-up. “I wanted to show people the seriousness behind the script,” he said. “Every work that you see took years to develop, and I had to be convinced by its aesthetic. I wanted to show that it takes time. We make sketches and studies. It’s not just about drawing on a piece of paper.” Another eye-catching display showcases an array of his various writing tools (which he has collected and worked with over the years). Some of them are made of bamboo from Egypt and Iran.

A particularly unique writing tool is one that dates back to his childhood in Iraq during the 1980s. It is a simple object that demonstrates how this whole art form is deeply personal for Shawkat, who endured a war-torn childhood. Born in Basra in 1974, Shawkat lived through the Iran-Iraq war (1980–1988) and while his hometown was being bombed, Shawkat sought refuge in shelters, filling his time with practicing calligraphy — an escape from the horrors of the outside world. His encouraging father also bought him red ink — Shawkat’s first pigment — which is noticeable in many of his works today. “I’ve been using red ever since I was little. It’s kind of an homage to my father,” he said.

Script writing was a transformative art form that Shawkat picked up in school, at a time when students were being taught to draw war scenes and machinery. But one day, his teacher showed students the essentials of Arabic calligraphy on the classroom board. Shawkat, sitting in the first row of seats in class, was forever mesmerised. “It was like a revelation. I saw these beautiful letters and I became obsessed,” he recalled. “It is an obsession. Without obsession, I don’t think I would have what I have done.”