RESISTING AND SPEAKING TO THE SILENCE:
An ongoing visual rage,
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 formy 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.
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
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
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 the eye.
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
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
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.