FERIDUN OZGOREN

http://www.sufism.org/Feridun/main.html

Feridun Özgören works in the medium of ebrû, a technique developed in the urban cultural centers of Muslim India, Iran, and Turkey by the 15th century. He practices as a contemporary artist whose work has aesthetic, conceptual, historical and ideological aspects strongly grounded in classical Islamic art traditions. An art process between painting and mono printing, ebrû is the technique called "paper marbling" when it was eventually taken to Europe. 
When Özgören began his practice in the 1980s, ebrû had gone out of use in his native Turkey, except among a very few practitioners. Since that time, Özgören has contributed an impressive body of work to the medium, artwork combining the rich patterns of ebrû with the rigor and elegance of classical Turkish calligraphy. He has also mastered and incorporated a second nearly-lost technique, kat'y, or precise paper cutting. Used by Ottoman artists as a collage method, kat'y has been expanded by Özgören and used in complex ebrû painting procedures. In redeveloping the neglected techniques of these arts, he has drawn inspiration from exquisite, Mughal works of the 17th century.
Both aesthetically and technically, Özgören seeks to respect the deep traditions of his art in order to make authentically new, vigorous works in their spirit. He has carried out important research in old methods and forms, and has used this knowledge as a basis for his innovations. Özgören's work in ebrû has been shown in major solo exhibitions in museums in the USA, Turkey, and Bahrain and has been acquired by many public and private collections internationally. 
(quoted from http://www.sufism.org/Feridun/bio.html)

HAJI NOOR DEEN MI GUANGJIANG

Haji Noor Deen Mi Guangjiang, eminent master of Arabic calligraphy. Born in 1963 in eastern China’s Shandong Province bordering the Yellow Sea, Haji Noor Deen lectures on the art of Arabic calligraphy at the Islamic College in Zhen Zhou, where he also established a correspondence course to enable students from all areas of China to study Arabic calligraphy. In addition, he researches Islamic culture at the Henan Academy of Sciences. In 1997, Haji Noor Deen was the first Chinese Muslim to be awarded the Egyptian Certificate of Arabic Calligraphy and to be admitted as a member of the Association of Egyptian Calligraphy.
Haji Noor Deen displayed his works in July of 2001 as part of a month-long tour of the western United States sponsored by the Zaytuna Institute. The display of his beautiful artwork was a tribute to the unification of the Arabic and Chinese calligraphic tradition. He was invited to participate in the Zaytuna Institute’s 3rd Annual Conference and Fundraiser on July 1 in Santa Clara, California, which focused on the topic “Unity Through Diversity.” 
Haji Noor Deen also spoke about Islam in China. As one of the largest nations in the world, China's population represents 56 nationalities, ten of which have an Islamic background. By sea and by land, Muslims went to China over the first three hundred years of Islam. The first official delegation was sent to China by the Khalifa Uthman in approximately 651 A.D. Both the Islamic and Chinese cultures have a rich tradition of respect, mercy, and compassion. Thus, Islam found little resistance as it took root in China. 
Today, there are approximately twenty million Muslims and thirty-five thousand mosques in China. The architecture of the mosques is a testament to the vastness of Islam's identity. They are wooden structures, which inculcate both an Islamic and Chinese style. The interplay of these cultures, which is exemplified in the architecture of the Chinese mosque, plays a vital role in the Muslim-Chinese identity. 
(compiled from www.zaytuna.org ,

  http://www.wrmea.com/archives/october01/0110059.html) 

See more of Haji Noor's work at: http://www.bukhari-institute.org/hajinoor

DENIZ OZERVARLI

email: ha_deniz@yahoo.com

A needlepoint artist from Turkey with over 20 years of experience, Deniz works with fine silk threads on silk and other fabrics. Although she has had some formal art training in Istanbul, she was mainly trained in this traditional art form as it was passed down from her family and past generations of women in Turkey. She specializes in needlepoint, creating with it Arabic calligraphy and floral designs on textile and handmade crafts. She usually does traditional Turkish, Arabic, Persian, and Chinese styles on ceremonial cloths, wall hangings, wedding & engagement pieces, pillows, and table cloths. Over the years, she has presented her works in shows organized by women’s groups in Istanbul. Deniz Ozervarli is a mother of three children and a Hafiza (one who has memorized of the entire Qur’an.) 

More of Deniz's work

Mohammed M. Abdelaal (Associate AIA)

email: mabdelaal@hotmail.com

Born and raised in Egypt, Mohammed moved to the U.S. in 1997 in order to further his studies of Architecture at the Boston Architectural Center (BAC.) Bringing with him his experience from his studies at the Faculty of Fine Arts in Cairo, Mohammed finished his Bachelors Degree at the BAC in 2001.
His thesis work was highly acclaimed, receiving two prestigious awards: The Thesis Committee Commendation Award and the Edwin T. Steffian Centennial Thesis Award. His work was exhibited at the BAC and the Build Boston Trade Show.
Mohammed’s principle concern in his work is the proper representation of Contemporary Islamic Architecture. His interests in how different aspects of Islam influence different types of works (i.e. Calligraphy effecting Ebru or Prayer effecting Architecture) led him to his thesis: Prayer as a Generator of Architecture in Islam. Mohammed’s concern for the rampant misconceptions about Islam and its architecture instilled in him the desire to utilize his thesis project in order to present Islam and Islamic Architecture in a positive light. His exploration of a very traditional model (the 5 daily prayers) produced a very contemporary piece of Architecture. 
Mohammed has been working at Jung|Brannen Associtates, Inc. since 1999, as an Architectural Designer.

See more of Mohammad's work

Lana Angawi

Lana Angawi  was born in Austin,Texas, and has lived in both the United States and Saudi Arabia. She graduated from the prestigious Dar Al Hannan High School in Jeddah, Saudi Arabia, and received her Associate Degree in Interior Design from the Wentworth Institute of Technology in Boston in 1998. She is currently studying  ceramics at the Radcliffe ceramics program at Harvard University, in Cambridge, Massachusetts. Her artwork focuses on Islamic design and calligraphy in clay. Her current project is sculpting a number of revered and famous mosques from around the world in order to preserve Islamic heritage, architecture, and culture from previous centuries. Her other hobbies include interior design, Islamic architecture, pottery, and textiles.

Photo: Ms. Engawi’s 3-D representation of the Quba Al-Sakra Mosque (Commonly referred to as the ‘Dome of the Rock’) in Jerusalem, which stands adjacent to the Al Aqsa Mosque, one of the most revered and holiest places according to Islam.

Abdul-Badi Abdul-Musawwi

Abdul-Badi Abdul-Musawwir: born in the urban wilderness of North America, Cleveland Ohio 1949. Ethnic background: Strawberry, chocolate and vanilla (Native American, African American and Dutch American). Embraced Islam in 1968.

Art Achievements: Spanning from…

• Late 1960’s: studied with eminent African American contemporary artist, Nelson Stevens, at Karamu House, and also at Kent State University.

• Late 1990’s: studied with master Arabic calligrapher Ali Nada AL- Dori, in Sharjah, United Arab Emirates. 

• 1960’s to Present: participated in several one man shows and many group shows.

• 1998: Founder and current instructor of UMAA, United Muslim Artist Alliance. A group of Muslim artist with fine art background, dedicated to dawah (making the call to Islam) through art as a means of cross-cultural communications.

• Present 2002: Art director/instructor of Islamic Academy of New England and Al-Noor Academy, Boston area Islamic school system.

The work of Abdul- Badi can be described as Islamic, linear, abstract expressionism.