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RESISTING AND SPEAKING TO THE SILENCE:
An ongoing visual rage,
 
Khalid Kodi
 
The visuals of experience and art forms are diverse in my work.  
I Create installations that include paintings, drawings, sculptures, 
and mixed media, and at times incorporate sounds and smells. 
I also produce some environmental artwork. I examine the gesture-pose 
between the literary/visual and the conceptual/technical.
 
I work on issues addressing multi- and cross- cultural concepts. 
I use Human phenomena such as wars and genocide, and their impacts on 
human societies, as subject matter for my paintings and installations. 
Through my work I advocate for the victims of war and genocide in the 
modern Sudan, and redefine these issues in ways that intend to generate 
both awareness and emotion.
  
At the same time I present these images visually and conceptually to my 
own Sudanese community, I also expose these events to the larger 
international community.
 
As such, most of my exhibitions are designed to carry outreach and 
educational messages, promoting peace, justice and freedom and equality.
 
For the last ten years I have crossed many cultural barriers by showing 
my artwork. 
Introducing these types of subject matters to the Sudanese people in such 
formats has being a challenge for both, myself, as the artist, and the 
Sudanese people, as the primary viewers.
 
Being an African living and working in America has allowed me to interact 
with my native African society, the Sudanese one, and my new environment, 
where I am able to communicate elements of both to one another and to the 
society in large. Furthermore, through my artwork and teaching, I can 
bring issues of general human concern, to a larger community.
 
KOUDA:
 
On February the 8th, 2000, a bomb was dropped into the town of Kouda, a
Sudanese town on the Nuba mountains and landed on a school.  
Fourteen Students and their teacher lost their lives. 
The Sudanese government carries out continuous air raids on the cities 
and villages of the Nuba mountings and south Sudan.  They officially deny 
bombing civilian targets, but this bombing was caught on tape.
 
The world, shocked by the event, was introduced to the tragedy by these 
Words ofthe exiled Sudanese Bishop, Acream Max Gassis, “For much of the 
Outside world, the Children of Kouda are war statistics. 
But for us, they are more that that: they are persons whose struggle for 
education in the midst of war itself a sign of extraordinary courage and 
hope.”
 
The names of the victims of this attack are;
Roda Ismail, Ruza Dabiel, Munira Khamis, Roda Abdella, 
William Abdalla, Munira Tutu, Kaka Ali, Tabitha Hamdan, Francis Peter, 
Hamed Yousif, Hyder Othman, Kubi Yousf, Bashir Ismail, Osama Rajab, Kuri 
Abdel Gadir.
 
Kouda, is a 15 foot life size sculpture, with gesture for each one of 
The victims. The work is focused on in individualizing the human, so 
Researching the ages was essential for the installation, as was 
researching the cloth that people use. 
This piece was shown in conjunction with the SSA conference of the same 
year and later in Boston and Washington.
 
RESISTING AND SPEAKING TO THE SILENCE:
 
In this piece, selective visual and performance imageries are designed 
To elicit thoughts and emotional responses to the ongoing genocide of the 
Sudan.
 
Like words, visual elements have the ability to document events, either
descriptively or fictionally. Unlike most words, however, visual creations 
interact with more than our rational knowledge.
Visual creations enable us to interact with our inner selves, lead us to 
experience, rather than just intellectually analyze, the facts, and they 
activate our senses. Visual experiences rationalize, legitimize, and give 
form to our feelings.
 
Resisting the Silence is a protest. It is a protest against the 
Mainstream Academia, Sudanists, and the Sudanese elite who choose silence 
as a responseto the ongoing genocide in the Sudan. It is a protest against 
Academy’stradition of avoiding discussion about the loss of 2 million 
lives.
 
In this installation, I visually addressed both the contemporary and the 
historical silence. The installation consists of hundreds of life size 
skulls.
These skulls are from males females, young and old.  
The skulls are cast with the types of damage that can occur to as a 
result of they types of weapons used in the war in Sudan.
 
The skulls are displayed individually and in groups, spread freely on 
floor or gathered into damaged burlap bags.
 
Some of the skulls have being painted with bright colors, representing 
how the killings are presented by some, particularly those doing the 
killings, as something pretty or attractive.
 
 
OUR LEADERS:
 
After colonialism was defeated by the African local National Heroes, 
life for African people went through a dramatic shift, as many of those 
(African National Heroes) where not very keen leaders. Many of the post 
colonial National Heroes possessed a political status as well as a 
religious one.
Traditionally they are like Gods. Many African believed that these post
colonial leaders had supernatural powers. Some of the leaders also 
believed the same about themselves, so it is no surprise that some of 
them became brutal political leaders.
 
Post-colonial African dictators became a tradition, to be passed down 
from a generation to generation.
 
Our Leaders is a series of large scale paintings representing Traditional 
Sudanese historical, political and spiritual leaders.
I have painted them all naked, as a simple way of striping away their
holiness and bringing them down to the level of mortals.
 
The paintings carry both a historical weight, and formal aesthetical elements.
 
The historical weight comes becomes the figures are recognizable for 
Their role as prominent persons in the politics of the Sudan, present and past.  
 
The aesthetic element enters because the paintings with colors, forms and
textures intended to be pleasing to t
 
A village of fire is a drawing that one of the largest drawings in the world; it occupies 
a field the size of two football stadiums. The drawing was created over a 
period of three weeks, requiring intensive labor, 12-16 hours a day of 
continuous work. 
The images were done using fire against grass.
 
The images detail the everyday life in Sudanese villages.  The scenes 
are of different activities of the people, of houses, trees and animals,  
such as cows, dogs, goats, crocodiles , butterflies , birds, etc.
 
Agriculture in Africa is center of life; before the start of each new 
Farming season many villagers gather to fertilize their fields: they use 
fire to burn away old grass and plants. This practice is called (NAFEER) 
in the Sudan, and the (NAFEER) has its own elaborate cultures, 
is very ancient and very much still a part of many African nations and 
certainly in the Sudan.
 
Fire, represents regeneration - from the burned plants and grass, new 
Sprouts grow greener, stronger and healthier.
 
The drawing also emphasizes the concept of time, and the nature of the 
Changes that occur in our environment.
 
Fire is such a powerful element- when people discovered fire, their 
Lives changed dramatically and broadly.  It had many uses and was even 
Worshipped among many nations. The smoke was used to send messages, ashes 
were used for various ritual practices, including as paint to decorate 
houses and bodies, and to protect bodies.
 
I chose to work with the element of fire in this project because of its 
Power to both construct and destruct; because it offered challenge and 
excitement to me, and because of its originality when used as a 
contemporary drawing element.
 
The drawing offers multiple and complex possibilities of visual perspectives.
As the viewer moves from one side to another on the hilly landscape, 
Images begin to changes dramatically.  The figurative elements may 
assemble or scatter, offering new and unexpected shapes.  Being in the 
field surrounded by all these burned marks and images is a unique 
experience, though even more exciting was the experience of burning the 
images into physical shapes, of existing between the heat of the sunny 
August day and the heat of the fire from the steal torch, of existing 
with the smell of the burning grass.
 
A Village of fire project was a challenge for me.
 
REDO CHINA :
 
Redo China is a perspective exhibition organized by Chinese Artist, 
Curator and activist, Pan Xing Lei. On September 18th, ten artists from 
Different nations will gather at the Asian Center in New York to the open 
the show titled, “Redo China.” Each artist will create impressions of the 
contemporary China as they see it, and as people of their own nation see it.
 
My memories of China were always associated with red. 
As Chairman Mao addressed the young and well-organized Chinese men and 
women at festive occasions, Red was the color that captured my ayes, 
always Red, cadmium red.
Even on the cover of the elegant magazine, Re-Building China… Red, that
translated to rigged Arabic My memories of China were often intermingled 
with the constructions of my own Sudan and spared of the concept of 
providing people with the mean of catching the fish, but never 
giving them the fish. I have good memories of China - after all I was 
a representative of the (ping pong) team at my high school.
 
In the recent years my memories with China, became red, green, and black.
 
Red for blood, green for the dollars, and black for the oil! As the world
fell apart, China became a super power of some sort. The capital market 
imposed new economic needs and the competitive market imposed 
investment desire.  
My more recent memories of China are linked with the discovery of oil in 
the Sudan.
China with all its experience in the intellect, engendering and 
development, China with all its history in advocating 
friendship, and comradeship, Has become heavily involved 
in investing for dollars by any means necessarily.  
It invests in several African nations, including Sudan.
 
Despite all those wonderful things of China’s history, despite all the
wonderful memories I personally have, the present reality of China’s
investment in Africa is not a pretty one! The human toll is so high, 
over two million Sudanese people have lost their lives, four million 
have lost their homes, and hundreds of villages have been destroyed as 
giant oil machines took the places of huts and fields that once belonged 
to indigenous Sudanese families. Many of these machines are Chinese.
 
My newer memories of China are not of history, culture and the festive 
Color red. 
They are no longer good ones. They are of murderous silence and heartless 
investment in the genocide taking place in Sudan. The images of red are 
now images of blood; the blood of millions of Sudanese people.
 
This installation is a response to China’s decision to invest in a 
Country ruled by a dictator. 
The painting is executed using Oil, Blood and Ink on rice paper. 
I believe that the use of these materials is the most important 
Element of this work.
 
 

 

EXPERIENCE
 
BOSTON COLLEGE Chestnut Hill, MA
Adjunct Professor
1995-Present Teaches core courses that include Painting and Drawing.
 
BROWN UNIVERSITY Providence, RI
Visiting Lecturer
Fall, 1997-Summer, 2001 Taught Foundation Design.
Sponsors all levels independent studies.
 
Summer Faculty
1997-present instructed Beginning and Intermediate Watercolor Painting, 
will be instructing Conceptual Art Global Concern summer 2002.
 
MASSACHUSETTS COLLEGE OF ART Boston, MA
Adjunct Professor
Fall, 2000-Present teaches Foundation Drawing, Conceptual Art Global 
Concern.
 
MUSEUM OF THE NATIONAL CENTER OF AFRICAN AMERICAN ARTISTS Boston, MA
Education Consultant 1992-Present Provides on-going educational 
consulting
services in the development of interpretation materials and curriculum.
 
CAMBRIDGE COMMUNITY ART CENTER Cambridge, MA
Nov. 1993- Dec. 1994 Curriculum Developer and Instructor.
Created the curriculum for youth art programs.
 
MUSEUM OF FINE ARTS/BOSTON Boston, MA Art Instructor
Fall, 1993 Instructed Drawing and Composition through an interactive 
process using the Museum’s permanent collection.
 
Consultant
1992 Provided technical assistance to Public Programs staff in 
conjunction with Permanent
Nubian Gallery opening events.
 
MASSACHUSETTS COLLEGE OF ART Boston, MA
Fine Arts Instructor
Spring, 1993 Designed and instructed "Introduction to Abstract 
Painting".
Gallery Assistant
Spring, 1992 Assisted with the creation of exhibitions, the design of
installations, and the 1993 programming of related events.
 
EDUCATION
 
MASSACHUSETTS COLLEGE OF ART Boston, MA
Master of Fine Arts - Painting, 1993
Graduated with honors - Recipient of the FA- 2D Graduate Award Book
 
KHARTOUM POLYTECHNIC COLLEGE OF FINE & APPLIED ART Khartoum, Sudan
Bachelor of Fine Arts - Painting, 1987
 
SELECTED EXHIBITIONS
 
SOLO SHOWS
2002 PENN STATE, Our Story, Berks, PE
2001 AAMARP GALLERIES, Recent Works, Boston, MA
MICHIGAN STATE UNIVERSITY, Resisting and Speaking to the Silence, E.
Lansing, MI
2000 VASSAR COLLEGE, Kauda, Poughkeepsie, NY
1999 SKOTO GALLERY, From the Decorative Memory of Princess Asrar, New 
York, NY
MUSEUM OF THE NATIONAL CENTER OF AFRICAN AMERICAN ARTIST
Asrar, a Visual Dialogue with Alice Walker, Boston, MA
ARNO MARIS GALLERY, Asrar, Ely Campus Center, WESTFIELD STATE
COLLEGE, Westfield, MA
1998 KADUNA GALLERY, Recent Works, Millburn, New Jersey
UNIVERSITY OF MASSACHUSETTS/AMHERST, Amherst, MA
1997 RENAISSANCE ART & DESIGN GALLERY, From the Book of Triptych, 
Boston, MA
1996 DRAGON FLY GALLERY, Recent Work, Martha’s Vineyard, MA
A.A.M.A.R.P. GALLERY, 1001 Nights, Boston, MA
1995 RENAISSANCE ART & DESIGN GALLERY, Recent Works, Boston, MA
1994 MEDANI STUDIO, GALLERIA DE ARTE, Madrid, Spain
1992 MUSEUM OF THE NATIONAL CENTER OF AFRICAN AMERICAN ARTISTS,
The Nubian Legacy in Contemporary Art, Boston, MA 
(In conjunction with the Museum of Fine Arts/Boston)
1990 THE CULTURAL FOUNDATION, Abu Dhabi, U.A.E.
1988 GOETHE INSTITUTE, Khartoum, Sudan
TEHRAGA HALL, Alexandria, Egypt
1986 GAZIRA UNIVERSITY, Wad Medani, Sudan
 
SELECTED GROUP SHOWS
 
2002 ARTOMI INTERNATIONAL ART CENTER, Omi, NY
2002 THE BRUSH GALLERY, A Continent Away/ Multiple Identities, Lowell, MA
2002 FULLER MUSEUM OF ART, THE COASTER PROJECT, DESTINATION THE WORLD.
Brockton, MA and 99 locations worldwide 2002 THE BRUSH ART 
GALLERY, A CONTINENT AWAY: Multiple Identities in Contemporary African Art,
Lowell, MA
2001 MASSACHUSETTS DEPARTMENT OF ENVIRONMENTAL PROTECTION, Collage, Boson, MA
SKOTO GALLERY, Selections, New York, NY
2000 STATE UNIVERSITY OF NEW YORK, Distinguished identities, 
Staller Center for the Arts, NY
THE FEDERAL RESERVE BANK, Voices of the African Diaspora, Boston, MA
BROWN UNIVERSITY, DAVID WINTON BELL GALLERY, Faculty 
Exhibition 2000, Providence, RI
1999 THE TEMPLE OF PEACE, New Diversity 2000, Cardiff, England
1999 BOSTON COLLEGE, Artists as Teachers, The McMullen Museum of Art, 
Chestnut Hill, MA
1998 SKOTO GALLERY, five African Artist, New York, NY
DRAGON FLY GALLERY, Recent Works, Martha’s Vineyard, MA
1997 BROWN UNIVERSITY DAVID WINTON BELL GALLERY, Faculty Exhibition 
1997, Providence, RI
TRAVELING SHOW through STATE UNIVERSITY OF OHIO, Contemporary 
African Artists, Columbus, OH
SKOTO GALLERY, Recent Works, New York, NY
CAMBRIDGE MULTICULTURAL ARTS CENTER, Passage, Cambridge, MA
1996 ART HAUS, Boston, MA
1995 UNIVERSITY OF VERMONT, McCROREY GALLERY, BAILEY/HOWE LIBRARY,
Rotating Exhibition of Works by Artists of Color, Burlington, VT
COPLEY SOCIETY FOR THE ARTS, African American Artists, Boston, MA
CINQUE GALLERY, Eyes on Africa, New York City, NY
ATTLEBORO MUSEUM, A.A.M.A.R.P. Artists, Attleboro, MA
1994 BOSTON PUBLIC LIBRARY, The  Nile River Trip, Boston, MA
1993 MASSACHUSETTS COLLEGE OF ART, Thesis Show, Boston, MA
CENTRO DE INFORMACION Y DOCUMENTACION AFRICANAS,Nacional Exposicion 
De Arte Sudanese, Madrid, Spain
1992 NEW ENGLAND SCHOOL OF ART & DESIGN, Sharing our Spirit, African 
American Artists, Boston, MA
1991 CAMBRIDGE MULTI-CULTURAL ART CENTER, Coming and Going, Cambridge, MA
RENAISSANCE ART & DESIGN GALLERY, Earth, Fire & Wind, Boston, MA
1990 KAJI ASO STUDIO, Boston, MA
UNITED ARAB EMIRATES FREE SOCIETY EXCHANGE, Bombay, India
1989 THE NINTH EXHIBITION, Sharjah, U.A.E. FREE STUDIO, Abu Dhabi, 
U.A.E.
 
AWARDS
 
2001 COMMUNITY WORKS, Artist for Social Change Award, Community Works, 
Boston, MA 2000
THE TWO DIMENSIONAL FINE ART GRADUATE AWARD BOOK,
Massachusetts College of Art, Boston, MA1993
1992 FIRST PLACE IN CREATIVITY, FIRST ANNUAL AFRICAN AMERICAN SHOW,
New England School of Art & Design, Boston, MA
1990 GENERAL EXHIBITION AWARD, Abu Dhabi, U.A.E.
1989 THE SEVENTH ARAB YOUTH FESTIVAL, Khartoum, Sudan
1985 SUDANESE CULTURAL FOUNDATION FESTIVAL, Khartoum, Sudan
 
RESIDENCIES & WORKSHOPS
 
ARTOMI INTERNATIONAL ARTS COLONY, Gent, NY
Summer 2002 Artist in Residence
 
NORTHEASTERN UNIVERSITY AFRICAN AMERICAN ARTIST IN RESIDENCY
PROGRAM , Boston, MA
Nov. 1994-Present Artist in Residence Vice-Chair/Exhibitions
 
CULTURAL FOUNDATION Abu Dhabi, U.A.E. 1989
Artist in Residence
 
GOETHE INSTITUTE Khartoum, Sudan
1988 Co-resident with German Artist Iwan Kashmider
 
CURATORIAL EXPERIENCE
 
OUT OF PAKISTAN
 
1995 AAMARP Galleries, Boston, MA
Co-created an exhibition of paintings, miniature drawings, ceramics,
sculptures and prints by Pakistani Artists and American artists who 
have worked in Pakistan.
 
DIFFERENT LANDS, DIFFERENT HOMES, DIFFERENT PERSPECTIVES
1992 Student Life Gallery, Massachusetts College of Art, Boston, MA
 
COMMISSIONS
 
LIFE AFTER MURDER PROGRAM, INC. (LAMP) Boston, MA
1997-1998 Awarded commission for design submitted for Memorial 
competition.
Memorial will be located at Heritage State Park in Roxbury, MA
 
 
 
COLLECTIONS
 
UNIVERSITY OF VERMONT, McCrorey Gallery, Bailey/Howe Library, 
Burlington, VT
MUSEUM OF THE NATIONAL CENTER FOR AFRICAN AMERICAN ARTISTS, Boston, MA
RENAISSANCE ART & DESIGN GALLERY, Boston, MA
MASSACHUSETTS COLLEGE OF ART DEAN’S OFFICE, Boston, MA
TEHRAGA HALL, Alexandria, Egypt
KHARTOUM SCHOOL OF FINE AND APPLIED ART, Khartoum, Sudan
GOETHE INSTITUTE, Khartoum, Sudan
UNITED ARAB EMIRATES ARTIST SOCIETY, Sharjah, U.A.E.
THE CULTURAL FOUNDATION, Abu Dhabi, U.A.E.