Dying Lioness, 2007, 18 x 24 in., Graphite on Paper

Ancient Kalhu, 2007, 18 x 24 in., Graphite on Paper

#5 Syriac Tetragrammaton, 2004, 7.875 x 7.875 in., Mixed Media on Paper

Using ancient reliefs and patterns in early work.

Contemporary, 2004, 15 x 22 in., Mixed Media on Paper

Collected Fragments Series (6 drawings) is available for purchase. The Smooth Black picture frame is crafted of high quality material. Sawtooth fittings on the back allow for quick wall mounting, while the Plexiglas front helps protect the artwork from day-to-day dust, dampness and damage.

Frame Size 19″ W x 14″ H and 14″ W x 14″ H, artwork size 15″ W x 10″ H and 10″ W x 10″ H. Completed in 2020.

Collected Fragments Series:
This series was inspired by a quilt that Rabel’s paternal grandmother made for him. Intrigued by the compositional grid, he printed, cut, stained and rearranged ancient Assyrian reliefs. The resulting tapestry of color and shape create a fresh perspective on an ancient culture. The composition with the black cross is in remembrance of his paternal grandmother. Rabel left some areas void of pattern and color to represent the ongoing cultural destruction in Iraq.

Cosmic Stain Set (6 drawings, 5.5″ W x 8.5″ H, completed in 2016).

Pattern Language Series:
Assyrians are an inventive people, and this series is another step in my quest to invent something new from something that already exists. Here, I’m seeking a visual language for my culture. Inspired by a child’s toy that teaches the Syriac alphabet, I began to trace the letters’ forms and quickly saw new images emerging. As the letter forms are layered, the overlapping shapes create negative spaces. When filled in, those spaces reveal new letter forms: a new language linked to the past and rooted in the present and future.

Tea Stain Set (6 drawings, 5.5″ W x 8.5″ H, completed in 2019).

Pattern Language Series:
Assyrians are an inventive people, and this series is another step in my quest to invent something new from something that already exists. Here, I’m seeking a visual language for my culture. Inspired by a child’s toy that teaches the Syriac alphabet, I began to trace the letters’ forms and quickly saw new images emerging. As the letter forms are layered, the overlapping shapes create negative spaces. When filled in, those spaces reveal new letter forms: a new language linked to the past and rooted in the present and future.