Composition, 2

His work typically highlights not just the organic shapes that make up the content of the work, but the texture and dimensionality of the materials themselves. He has a consistent and carefully theorized taxonomy of symbols, shapes, and materials that resurface throughout his oeuvre. Belkahia's work typically uses sinuous, organic shapes that recall bodies or corporality. Many of his works use triangles, arrows, and hands, and often involve questions of sexuality. He often employs Tifinagh letters from the Amazigh alphabet and symbols culled from traditional visual culture within Morocco, derived from rugs, tattoos, and architecture. Part of the interest of his work, however, is the way in which these symbols are re-constituted and re-imagined to become an integral part of his modernist visual vocabulary.