Interview with Alen Glusac (BiH)

SPIRITUAL AND ARTISTIC IN ISLAMIC ART

"Each kind of letter has its own regular writing and the proper place inside of the composition. Proportions of letters can varry. Every calligrapher has his own way of writing of letters and diacritical and ornamental marks. The beauty of letters also make finely done volume. If all those conditins overlap, they will give to the calligraphic writing special beauty." (Alen Glusac)

IAM: Can you tell us something about your work up to now and how you got in touch with the Islamic art?

Alen Glusac: It all started at the first year of the Academy of Fine Arts in Sarajevo, where I met prof. Cazim Hadzimejlic and recognized the entire importance of the Islamic art. After that, I felt more satisfaction working within the Islamic art, then with the one that originates from the West, although I worked in that way. What has attracted me to the Islamic art was the strong link between the illustrative and the spiritual.

IAM: According to you, what is the feature of good calligraphy?

Alen Glusac: Firstly, calligraphy should have the precision of performance. Each kind of letter has its own regular writing and the proper place inside of the composition. Proportions of letters can varry. Every calligrapher has his own way of writing of letters and diacritical and ornamental marks. The beauty of letters also make finely done volume. If all those conditins overlap, they will give to the calligraphic writing special beauty.

IAM: You are working ebru art, too. Tell us more.

Alen Glusac: The first time I saw ebru was with professor Hadžimejlić at the Fine Arts Academy. Later one, I additionally learned more about ebru by practise.

The rest of the article you can read in the magazine.