SHARP LENS: Artist Khalilah Sabree, shown in her studio, shares what she sees and interprets world events in her large pieces.
By Thomas Kelly
Khalilah Sabree is an artist who expresses her spirituality, her experiences, her pilgrimages and her world view. Her outlook is positive and yet her lens is sharp. For years a teacher in the Lawrence Township Public Schools district, she shares with us what she sees, and interprets world events in her large pieces. She makes personal thoughts and her experiences universal. She tackles serious issues with color, strong forms, and pattern. Her work can make us look outward and maybe see things we did not think about before.
What are you communicating with your work?
My work explores faith, memory, resilience, and the human experience. Through abstraction and mixed media, I create spaces for reflection that connect personal narratives with collective histories. Much of my work is informed by my lifelong spiritual journey and my continuing effort to internalize the teachings of the Qur’an. At the same time, I recognize that I was raised in the Southern Baptist tradition, and the values, stories, music, and sense of community from those early experiences continue to influence how I understand spirituality and human connection.
My work is also shaped by the rich education I received through the Trenton Public Schools, The College of New Jersey, and The University of the Arts in Philadelphia. These experiences expanded my understanding of history, culture, critical thinking, and the transformative power of art. Together, these influences converge in my practice as I explore how individuals and communities endure loss, displacement, social upheaval, and spiritual struggle while maintaining hope, dignity, and purpose.
How do you decide what subjects will make a series?
A series typically begins with an idea, question, or concern that occupies my thoughts over an extended period of time. Sometimes the catalyst is a global event, such as the Ebola epidemic or the devastation of war. At other times, it emerges from spiritual reflection, personal experience, or historical inquiry. When I realize that a single work cannot fully explore a subject, I allow it to develop into a series.
What materials do you like to use?
I work primarily in mixed media on wood panels. My process involves layering paint, collage, texture, pattern, mark-making, and occasionally text. I am drawn to materials that allow for accumulation and revision because they reflect the way memory, history, and experience are layered over time.
How do you decide what size to make a piece?
The subject matter often determines the scale. Some works require an intimate format that encourages close observation, while others demand a larger presence that allows viewers to become immersed in the visual and emotional environment of the painting.
Do you find viewers are more curious and informed on cultural and global issues after understanding your work?
I hope so. My intention is not to provide definitive answers but rather to encourage reflection and inquiry. If a painting encourages someone to learn more about a subject or consider another perspective, then it has succeeded in opening a meaningful dialogue.
Is your work very personal?
Yes, although it is not autobiographical in a literal sense. My experiences as an African American Muslim woman, artist, educator, and lifelong resident of Trenton inform how I see and interpret the world. My work reflects the many influences that have shaped me, including my Southern Baptist upbringing, my acceptance of Islam as a young adult, my ongoing study and internalization of the Qur’an, the strong educational foundation I received in the Trenton Public Schools, and my formal artistic training at The College of New Jersey and The University of the Arts.
What fight or struggle do you have regarding your art?
Like many artists, I face practical challenges such as funding, the cost of materials, storage, studio expenses, and finding sufficient time to create. However, the most important challenge is maintaining artistic integrity and remaining true to my vision.
How was your recent show at Art@Bainbridge, Princeton University Art Museum, received?
The exhibition was very well received and generated thoughtful conversations around faith, identity, memory, and women’s experiences. On a personal level, the experience was extraordinary. The Princeton University Art Museum afforded me an opportunity I never imagined possible. To be treated as a professional artist and to have my work exhibited within such a respected institution was both humbling and affirming. It represented an important milestone in my artistic journey. I hope to continue building on that experience and welcome future opportunities to exhibit through institutions of similar stature.
What do you miss about teaching art?
What I miss most is witnessing students discover their own creative voices. There was tremendous satisfaction in watching young people move from uncertainty to confidence through the creative process.
Who are some of your current influences and what do you take away from them?
My influences span both historical and contemporary artists. I continue to admire Rembrandt’s profound humanity and mastery of light, J.M.W. Turner’s atmosphere and emotional power, and Käthe Kollwitz’s compassion and commitment to social justice. Among contemporary artists, I greatly admire Mark Bradford and William Kentridge. Bradford’s layered surfaces and engagement with social history resonate with my own interest in memory, place, and lived experience. Kentridge’s exploration of history, identity, and human complexity reminds me of the power of visual metaphor and storytelling. I am also deeply influenced by Islamic art, architecture, and contemplative traditions. Above all, my work is informed by my continuing effort to internalize the Qur’an and apply its teachings to daily life.
What are you working on right now?
I am currently developing a new body of mixed-media work that continues my exploration of spirituality, memory, vulnerability, and resilience. Much of this work reflects the uncertainty and instability of our contemporary world and examines how individuals internalize conflict, loss, change, and disruption.
What is on the horizon? What are you looking forward to?
I look forward to continuing to deepen my studio practice while expanding the audience for my work. One of my aspirations is to place my Ebola series within a medical, research, or pharmaceutical setting where it can contribute to conversations about public health, scientific research, and our shared humanity. I also hope to secure support to modernize my website and strengthen my understanding of emerging technologies and digital platforms. I would welcome artist residencies and travel opportunities that would allow me to experience important works of art firsthand and engage with artists from diverse backgrounds.
At this stage of my life and career, I am most grateful for the opportunity to continue creating meaningful work. I am thankful for the many experiences that have shaped me — from my Southern Baptist upbringing to my embrace of Islam and continuing relationship with the Qur’an, to the rich education I received through the Trenton Public Schools, The College of New Jersey, and The University of the Arts. I am grateful for the support of family, friends, colleagues, former students, and the many individuals who have encouraged my artistic journey. Above all, I am thankful to be alive, actively creating, and contributing to the cultural life of the city that helped shape me. It is a blessing to remain engaged with Artworks Trenton and the broader Trenton arts community, which continue to provide inspiration, connection, and purpose.
To learn more, visit khalilahsabree.com.