Mothanna Hussein’s “Allah” Series: A Study in Iconography and Form
Words by NOUR DAHER
Jordanian visual artist Mothanna Hussein has long explored the intersection of design, language, and cultural symbolism. His ongoing “Allah” series is a striking testament to this, transforming the word into bold, structured forms that carry both simplicity and profound meaning. By stripping away excess ornamentation, Hussein offers a fresh, contemporary perspective on a word deeply embedded in cultural consciousness.
Drawn to the visual strength of the word Allah (الله), Hussein was compelled to create a piece that captured its iconographic appeal. With a background in 3D design, he saw the opportunity to construct the word as an object, an artistic statement independent of traditional religious connotations, “I didn’t consider writing love or peace because nothing resonated like the word Allah did,” Hussein explains. “The word’s presence in everyday life, like graffiti on a wall, in homes…just made sense.”
The structure of the word itself plays a crucial role in his approach: “It carries a striking simplicity yet possesses a distinct framework, almost as if it rests on three supports or pillars,” he describes. This foundation makes the word Allah highly adaptable to his artistic vision, allowing for a wide range of creative interpretations.
Hussein also sees this work as an evolving, collective exploration of iconography. In the early stages of the project, he made it an open-source initiative, inviting people to contribute their own calligraphic or artistic manifestations of the word. This public engagement echoes Sherine Salla’s #allahseries hashtag, which began circulating on Instagram nearly a decade ago. By allowing others to reimagine the word visually, Hussein’s project becomes more than an individual expression, transforming into a communal dialogue.
While he experiments with pop influences, gradients, classic decorative styles, and street art aesthetics, Hussein remains intentional in his approach. Pairing unexpected elements like tigers, snakes, key chains, and cars to the work, introduced new layers that gave it a contemporary appeal while preserving the integrity of the word itself.
His latest exhibition, hosted at the newly opened Ya Salam gallery in Marrakech, presented “Allah” in an intimate, organic setting. The exhibition included prints on canvas, limited editioned works, and silverware jewelry. “The Moroccan audience, with its unique Sufi sensibilities, embraced the project warmly,” he reflects. “It was a successful debut.”
For Hussein, this series remains an ongoing exploration, with plans to eventually compile it into a printed book. But for now, he remains fluid in its evolution, continuously seeking new ways to expand its reach.
