This article is taken from the "Issues" section of the September 2024 issue of Omalius magazine.

Do you feel like a herald?

If I started writing and now create comics, it's probably because I felt the urgent need to connect my present with my past. I felt the need to remember what we went through in Lebanon in the 80s, when I was a child. I don't know if I consider myself a herald. But if there's one role I can take on, on my own scale, it's that of passing on snippets of our history through a fertile and fairly popular medium.

How did you come to be an illustrator, what was your motivation?

The urgency to tell my story and the pleasure of drawing. Drawing is not just a tool; I get immense pleasure from it. I studied graphic design because I knew I had something to do with images, but I didn't yet know how it would materialize. It was during my studies that I discovered how vital drawing was to me. Drawing and writing are very closely linked, and I rarely draw when I'm not writing. Françoise Sagan used to say that when she writes, she feels like she's going into a submarine. I love this idea of changing elements, of being absorbed by the drawing. It's a refuge for me.

What role does a medium like comics play in raising awareness of societal and political issues?

It has an obvious transmission and educational role. It allows us to tackle important subjects and take the time to think about them. Comics also bring poetry to subjects that are difficult to access. There's a personal, sensitive relationship with a subject that the reader may not know anything about at the outset.

What does it mean to you to receive the insignia of Doctor Honoris Causa from UNamur?

It's an honor, a great joy and a surprise of course. What touches me particularly are the moments that take place around this ceremony. The awarding of the insignia gave me the opportunity to meet academics and students. I like the idea of participating, however briefly, in the life of the university. I had no connection with the University of Namur before, but this gives us the opportunity to forge new links.

Express CV

Zeina Abirached suit des études de graphisme à l'Académie libanaise des beaux-arts avant de rejoindre Paris en 2004. Elle y intègre un cursus spécialisé en animation à l'École nationale supérieure des arts décoratifs. 

Dès 2006, elle commence à raconter son expérience d'enfant durant la guerre, notamment dans ses deux premiers albums (Beyrouth) Catharsis et 38, rue Youssef Semaani, qui marquent son entrée dans le monde de la bande dessinée. Parmi ses œuvres les plus notables figure Mourir, partir, revenir – Le jeu des hirondelles (2007), un récit autobiographique retraçant une nuit particulière de la guerre, vue à travers les yeux d'une enfant. Ce livre, sélectionné au Festival international de la bande dessinée d'Angoulême, a été traduit dans plusieurs langues.

En 2015, elle publie Le Piano oriental, un récit marquant qui mélange fiction et histoire familiale puisque nous suivons son grand-père, inventeur d'un piano capable de jouer à la fois des quarts de ton orientaux et des demi-tons occidentaux, symbole d’un dialogue entre deux cultures. Ce livre a reçu de nombreuses distinctions, tant pour la profondeur de son récit que pour la qualité de son graphisme. 

En 2016, elle est décorée Chevalier de l’ordre des Arts et des Lettres. 

En 2018, elle publie Prendre refuge, un roman graphique co-écrit avec Mathias Énard, qui tisse des liens entre deux époques et deux histoires d’amour, au cœur d’un Afghanistan en guerre.

En 2023, elle illustre le célèbre texte Le Prophète de Khalil Gibran. À travers cette œuvre, elle offre une nouvelle interprétation visuelle du texte poétique et philosophique de Gibran, en utilisant son style graphique singulier pour mettre en lumière les réflexions intemporelles sur l'amour, la liberté et la spiritualité.

Sponsor: Benoît Vanderose, Professor, Faculty of Computer Science

Sponsor: Sephora Boucenna, Dean, Faculty of Education and Training

Benoit-Vanderose-Zeina-Abirached-Sephora-Boucenna

A word from his sponsor

"Sounds drawn, emotions materialized: real graphic poetry"

Two questions to Benoît Vanderose, professor at the Faculty of Computer Science and Zeina Abirached's Honorary Doctor sponsor.

What is it about Zeina Abirached's work that particularly speaks to you?

First and foremost, it's the formal level that makes this work striking. A recognizable graphic style at first glance! Then, when we get down to the details, it's a swarm of inventiveness that immerses us in the author's universe. Drawn sounds, materialized emotions: real graphic poetry. We're drawn in. Once inside this monochrome universe, we're invited into touching stories, opening onto other experiences, other destinies, other realities. A journey that questions our own journey, how lucky we are to have avoided certain ordeals, and what we could have gained by going through others.

What links do you see between the artistic and academic worlds?

I think that teachers and artists largely share the same vocation, that of transmitting knowledge in all its diversity. Obscurantism is "opposition to the spread of education, culture and scientific progress", and both academia and the arts are fervent opponents of this narrow view of the world. In this sense, I believe that artists such as Zeina Abirached can be seen as colleagues who bring a complementary sensibility, an alternative approach, to the battle against obscurantism on other fronts. And in view of the alarming situation in which our world finds itself, this alliance seems to me more desirable than ever.

Discours officiel de la Rectrice, Annick Castiaux, prononcé lors de la Cérémonie officielle de rentrée académique. 

Epitoges des DHC 2024

Cet article est tiré de la rubrique "Far Away" du magazine Omalius #34 (Septembre 2024).

Une Omalius septembre 2024