Rachid Koraichi, born in 1947 in Algeria, is a contemporary artist whose unique approach to art explores spirituality and the human condition. His works, which delve into themes of peace, love, sorrow, oppression, and resistance, are characterized by abstract and symbolic compositions that employ a diverse range of materials and formats. Koraichi's strong interest in genealogy, the spread of Islam, and its present-day social impact forms the distinctive foundation of his work. Inspired by his shared last name with the Quraysh tribe, he embarked on a journey to trace the tribe's geographical development and intellectual and spiritual contributions by studying the manuscripts they left behind. Koraichi is a French transliteration of the Arabic Quraysh. In the 7th Century, the Quraysh tribe took over the spread of Islam in Mecca, following the steps of the prophet Mohammad, whom they battled at first before believing in the Islamic religion. Through his art, Koraichi contributes to preserving and disseminating Islamic heritage, especially Sufi teachings.
Koraichi was introduced to Sufism at an early age, as some members of his family are affiliated with the Tijaniyyah Sufi order. As a child, he appreciated Arabic calligraphy from old books found around him. Furthermore, his interest and love for drawing were highly supported by his mother, who also used to draw with the hopes of becoming an artist. In 1971, Rachid Koraichi concluded his studies at the École National Supérieure des Beaux-Arts in Algeria. That same year, he moved to Paris to continue his studies at the École Nationale Supérieure des Arts Décoratifs (ENSAD). He also attended the Institut d'Urbanisme de l’Académie de Paris. After graduating from both institutions in 1975, he embarked on two additional years of study at the École Nationale Supérieure des Beaux-Arts in Paris.
Koraichi's practice links different cultures and temporalities, with a focal point being North African ancient art. His artworks come to life via intricate compositions of ancient signs, Islamic symbols, writings, and graphic elements from the artist's imagination. Of greatest inspiration for the artist were the rock paintings and carvings found in the southern part of the Sahara Desert, towards Mali and Nigeria. The writings that populate his artworks are transcriptions of Sufi texts about topics such as tolerance and sharing or an assemblage of signs that recall the mathematical and architectural properties of Arabic calligraphy. By creating his own language of signs that prompt visitors to question the human condition, Koraichi aims to create a type of art that can be understood in a universal manner.
A good example of Koraichi's experimentation with writing is the print L’encerclement de la Poussiere d’un Homme, 1986, part of the Ramzi and Saeda Dalloul Art Foundation collection. Koraichi executed this work by adopting the printmaking technique of etching on copper printed on Velin d’Arche paper. Dominating the central part of the composition, we see a flat figure that appears to be reminiscent of Chinese letter characters, marked with bold, black broad, irregular lines. It stands against a background amassed with illegible texts tinted in ochre. Koraichi reveals that the abstracted figure represents an image of a dried-out man encircled or engulfed by dust. The stylized representation of the human body contrasts sharply with the colorful, dynamic, and intricate pattern of words behind it, evoking mind-body dualism. This symbolic depiction of the transcendent human experience highlights Koraichi's skill in bridging the boundaries between writing and drawing.
For Koraichi, writing and drawing are intrinsically linked, emerging from the same creative impulse. The warm ochre Arabic text, handwritten by Koraichi, forms a textured and almost hypnotic field. The text embodies the symbolic meaning of the dust of a vanishing body and a stream of thoughts. The artist emphasizes the connection between these writings and the human soul by stating that they are “[..] like writing your memoirs or a poem. It's personal." At the same time, the writing for Koraichi carries a universal meaning, is written in reverse, and is not supposed to be readable. Koraichi’s print is a testament to the Sufi concepts of the ephemeral nature of life and the eternal quest for spiritual enlightenment. The title, L’encerclement de la Poussiere d’un Homme or The Encirclement of a Man’s Dust, reflects a contemplation of mortality, the impermanence of the physical body, and the enduring nature of the soul.
The notion of inclusion and relatedness exemplified in Koraichi's visual language expands to the production process of his art pieces and their format. Koraichi works with a variety of materials, including clay, glass, linen, and metal, collaborating with artisans from different parts of the world who master the practice and techniques, such as embroidery, of these materials. Rather than merely commissioning the work, Koraichi establishes a close connection with the artisans by being present during the production. The culture and tradition expressed through the artisan’s expertise become then a constitutive part of the artworks.
Similarly, the public plays a role in expressing the message of Koraichi’s work. Since the 1990s, Koraichi has been creating installations, a medium he considers more comprehensive for expressing his curiosity about life and the human condition, compared to the singular artworks he previously made, such as ceramics, rugs, paintings, or engravings. According to him, the strength of installations is that the public becomes part of the work, by circulating through and around the art pieces. Thus, Koraichi aims to disseminate knowledge by bridging cultural and social groups.
Dominant in his work is Koraichi's engagement in supporting contemporary liberation movements, such as the struggle for democracy and freedom of speech in his home country, Algeria. He has also identified with the fight for freedom in Palestine and shown solidarity with immigrant workers or the victims of natural catastrophes. Koraichi has also addressed migration and exile. His work focuses intensively on the tragedy of immigrants dying in the Mediterranean Sea. Having lost a brother himself in the challenging crossing to Europe, he focuses on the pain, sorrow, and life of those who remain.
To tell the story of the unfortunate travelers, Koraichi designed a cemetery titled Le Jardin d'Afrique, or the African Garden (inaugurated in 2021) for all the bodies beached onto the shore in Zarzis, Tunisia. His project was fully self-financed. The cemetery was built on a 27,000-square-foot agricultural lot of land in Zaris, which Koraichi bought from a local farmer. Koraichi adopted various mediums to express his concept, such as printmaking and sculpting, creating large jars symbolizing the immense number of tears shed by family members. Zaris is a town inhabited by both Muslims and Christians; however, none of these communities wanted to bury the bodies in their cemeteries because they could not detect the religious background of the deceased.
The Cemetery, Le Jardin d'Afrique, is meant to be seen as a garden of paradise, providing a respectful burial for people of all religions who had died at sea. It is an enclosed garden with tombs arranged in a geometric pattern, shaded by jasmine, bougainvillea, bitter orange trees, and gallant plants. Each body undergoes a DNA test, with the results inscribed on the tombstone, the shipwreck's date and location, and any identifying details such as age, gender, or clothing. This information is crucial for family members who may one day seek to locate their loved ones. The yellow entrance door, as described by the artist, symbolizes the sun and is intentionally low, prompting visitors to bow respectfully as they enter. With the prosperous vegetation, hand-crafted tiles — decorated with talismanic glyphs, hearts, and other auspicious signs — and prayer rooms, the place is designed to be an inviting and pleasant place for the families of the deceased to express their sorrow and maintain contact with their loved ones Thus, through his work, Koraichi seeks to encourage the world's inhabitants to prioritize sensitivity and compassion toward one another over societal and institutionalized religious rules.
In his practice of gaining a deeper insight into the human condition, Koraichi engages in rewriting the thoughts, emotions, and vibrations expressed in the work of thinkers from different eras, such as the Algerian writer Mohammed Dib and Palestinian poet Mahmoud Darwish or Sufi philosophers like Jalaluddin Rumi and Ibn Al Arabi. For example, the installation Invisible Masters, 2010, for which Koraichi won the prestigious Jameel Prize in 2011, is a tribute to 14 mystic masters of Islam. This work is part of a series that Koraichi started in 2008. Invisible Masters,2010, consists of 99 fabric banners meticulously embroidered with geometric elements, Islamic symbols, and ciphers. The number 99 is reminiscent of God's 99 names or attributes - in Islam. The compositions visually represent the masters’ sophisticated and tolerant writings addressing Sufi concepts of love, travel, and transcendence ‘safar’ in Arabic, and the ecstatic feeling of connection with divinity, to show how their messages remain relevant today, both in the East and the West.
One element of the Invisible Masters installation is the banner depicting an open palm, reminiscent of the Hamsa or Hand of Fatima known in Islam, but with more prominently spread-out fingers. The upper part of the palm is decorated with a wide-open eye, while the lower part and the five fingers are adorned with very small and tight geometric motifs. The open hand, a symbol found in ancient civilizations and Abrahamic religions, signifies peace in Koraichi's art and reflects the five pillars of Islam: faith in God, prayers, charity, fasting, and pilgrimage to Mecca. This recurrent symbol in Koraichi’s art blends specific and shared cultural elements, illustrating how it conveys values relevant to the life of every human. Given the artist's attention to contemporary social dynamics, the installation Invisible Masters may seek to present another aspect of Islam that contrasts with the mainstream associations of crisis and violence. Koraichi's aspiration to revive and make his spiritual and intellectual legacy accessible to all through graphic language was admired by the judges and cited as the reason for the award he received.
Rachid Koraichi's work profoundly explores the human condition, blending ancient symbolism with contemporary relevance. Recognizing the values of a heterogeneous world, he strives through his art to create a universal language that highlights the connections between past and present and between various cultural traditions. In realizing his works, he fuses diverse cultural techniques, uses diverse materials, and collaborates with global artisans. Sufi mysticism deeply influences his art, emphasizing peace, tolerance, and spiritual transcendence. Furthermore, throughout his career, Koraichi has been consistently committed to social justice, supporting liberation movements and shedding light on tragedies like the death of migrants in the Mediterranean Sea through his art. The artist currently lives and works between Algeria and France.