shatta
This commit is contained in:
parent
bf44814e4b
commit
467f20bcee
1 changed files with 39 additions and 33 deletions
|
|
@ -124,7 +124,7 @@ of yourself. That art can feel true even if you don't understand it.
|
|||
|
||||
**Boozer:** How do you stay motivated to create?
|
||||
|
||||
**Shatta:** You know understanding also motivates me. Just to try to
|
||||
**Shatta:** You know, understanding also motivates me. Just to try to
|
||||
understand is motivating. Because understanding goes both ways. At the
|
||||
end of the day, it is understanding. If it is pain, you understand why
|
||||
it is pain. If it is happiness, you understand why it is happiness. So,
|
||||
|
|
@ -198,12 +198,12 @@ another piece that reminds you of homelife or disconnection that has a
|
|||
story behind it.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 1. “The Unknown Hope (1)”, Shatta’s hometown in El-Korgal, Nuba Mountains, Sudan. (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 1. “The Unknown Hope (1)”: Shatta’s hometown in El-Korgal, Nuba Mountains, Sudan. (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Boozer:** This one in the Nuba mountains with the white jalabiya
|
||||
**Shatta:** This one in the Nuba mountains with the white jalabiya
|
||||
(figure 1). This is where my mom and dad were born. And I don't know how
|
||||
to put it in English. You can feel the connection of home. The meaning
|
||||
is always very deep. The forest is home. The trees are a soul. And they
|
||||
|
|
@ -233,9 +233,9 @@ earth.
|
|||
2). This is the one we were talking about before, right?
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 2. “The Unknown Hope (2)”, Damazin Market, Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 2. “The Unknown Hope (2)”: Damazin Market, Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yes, this is the one. And on the boy's t-shirt it says "the
|
||||
|
|
@ -289,9 +289,9 @@ is just from the former regime. No. It is deeper. It is more than that.
|
|||
supported by those roots.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 3. “The Unknown Hope (3)”, International Displaced Persons (IDPs) from Khartoum (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 3. “The Unknown Hope (3)”: Internally Displaced Persons (IDPs) from Khartoum (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yes. Because even the people who are in charge now in Sudan.
|
||||
|
|
@ -305,9 +305,9 @@ So, this is my city.
|
|||
**Boozer:** I love this one (figure 4).
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 4. “The Unknown Hope (4)” in the El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 4. “The Unknown Hope (4)”: El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yeah, this is really nice, you know? This guy, he's adopted.
|
||||
|
|
@ -326,9 +326,9 @@ child's life.
|
|||
**Shatta:** Yes. This is the Fulani, the Fulani people (figure 5).
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 5. “The Unknown Hope (5)”, Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 5. “The Unknown Hope (5)”: Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Boozer:** Tell us about the Fulani.
|
||||
|
|
@ -352,9 +352,9 @@ in other traditions. This one is in el Kargal my hometown (figure 6).
|
|||
This is also Fulani.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 6. “The Unknown Hope (6)”, Shatta’s hometown, El-Korgal, Nuba Mountains, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 6. “The Unknown Hope (6)”: Shatta’s hometown, El-Korgal, Nuba Mountains, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Boozer:** Awe, so cute!
|
||||
|
|
@ -364,9 +364,9 @@ This is also Fulani.
|
|||
**Boozer:** This is a beautiful one (figure 7).
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 7. “The Unknown Hope (7)”, El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 7. “The Unknown Hope (7)”: El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** This is my niece.
|
||||
|
|
@ -390,9 +390,9 @@ hard.
|
|||
**Boozer:** Just to get out of the heart of the war.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 8. “The Unknown Hope (8)”, the Roseires Dam, Blue Nile at Ad Damazin, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 8. “The Unknown Hope (8)”: Roseires Dam, Blue Nile at Ad Damazin, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yes. There's one picture, I need to discuss with you, this
|
||||
|
|
@ -423,7 +423,7 @@ in Action*. The red drawings. Should we also look at them?
|
|||
|
||||
**Boozer:** Would you like to tell us a bit about it?
|
||||
|
||||
**Shatta:** This one is part of *Migration of the Soul*. The point is
|
||||
**Shatta:** This one is part of *Migration of the Soul*.[^1] The point is
|
||||
not the physical migration but the mental migration. And also, the way
|
||||
how we feel disconnected from our own existence. For me it is also more
|
||||
like how we are engaging in time together. But also, time changes and
|
||||
|
|
@ -435,7 +435,7 @@ find the trees, we find the world, we find everything. And from there we
|
|||
build the human civilization. And we had the first migration and it's a
|
||||
lot of knowledge that came from this small family of human beings. And
|
||||
then came the first ancient peoples the first ancient civilizations. And
|
||||
now we are here in, say 2000. For me, to be in 2000, wow, just imagine
|
||||
now we are here in, say 2000. For me, to be in 2000 -- wow -- just imagine
|
||||
that we are the product of many little, little things.
|
||||
|
||||
**Boozer:** Many small past actions and events?
|
||||
|
|
@ -464,7 +464,7 @@ going to worship us!
|
|||
**Shatta:** Yes. You see, he's going to worship us. It's normal! And
|
||||
that's why I feel sometimes, it's like humans we have really smart and
|
||||
beautiful minds to create things. But when we link our soul with belief,
|
||||
we lost our power somehow. Also, there are the trees in the picture,
|
||||
we loose our power somehow. Also, there are the trees in the picture,
|
||||
human trees. It's like a forest. So, for me, it's about we and them.
|
||||
It's about our history and about our present.
|
||||
|
||||
|
|
@ -481,7 +481,7 @@ too. The forgetting.
|
|||
**~~Figure 10. “Gods in Action (1)” (Khalid Shatta, 2021).~~**
|
||||
|
||||
|
||||
**Shatta:** It is from a series called *Gods in Action*. So, *Gods in
|
||||
**Shatta:** It is from a series called *Gods in Action*.[^2] So, *Gods in
|
||||
Action* was inspired by a specific ocean. Solomon Islands and those
|
||||
people. The way they portray their gods is a very scary way. And even
|
||||
when they welcome someone, it is scary. For me, I find it very
|
||||
|
|
@ -506,7 +506,7 @@ together. Sometimes I feel, in Sudan in general, we have connections
|
|||
with nature in a spiritual way. Because we are always symbolizing
|
||||
things. People portray themselves like the snake, the lion, whatever.
|
||||
Maybe the point is to study the movement of these animals and to portray
|
||||
themselves as like these creatures. And also, the fish. The fish is my
|
||||
themselves as these creatures. And also, the fish. The fish is my
|
||||
favorite sign. I enjoy using it in my art. And in Sudan, in the Nuba
|
||||
Mountains, they draw alligators, elephants, and fish in the caves.
|
||||
Because, as we said before, there is a lot of knowledge that we
|
||||
|
|
@ -521,8 +521,8 @@ is just a question for the future of how to use it in Sudan. Because
|
|||
sometimes I feel Sudan is just an empty place. We have to build it from
|
||||
scratch. And I use art sometimes as the missing home. Because here I
|
||||
live really good. I enjoy life. But sometimes I get this feeling of
|
||||
"ahhh, I came from Sudan." I remember. And I feel sad and I feel like,
|
||||
wow, I have to do that in Sudan. Because I feel what we are missing.
|
||||
"ahhh, I came from Sudan." I remember. And I feel sad and I feel like
|
||||
-- wow -- I have to do that in Sudan. Because I feel what we are missing.
|
||||
What we are missing in Sudan, we are missing the foundation. This is an
|
||||
illustration showing question (figure 12). I love the human expression.
|
||||
The eyes. I paint a lot of eyes.
|
||||
|
|
@ -562,7 +562,7 @@ myself. You understand?
|
|||
|
||||
**Shatta:** Deep trauma, depression, stress, and anxiety and on top of
|
||||
that what's going on. Boom. It was really -- wow. And now I'm just
|
||||
saying it's a good experience. *Yanni*,[^1] I love the journey! Because
|
||||
saying it's a good experience. *Yanni*,[^3] I love the journey! Because
|
||||
also Norway, it's a place that makes me able to understand myself right
|
||||
now. And also, in my art journey because I made all those arts here. To
|
||||
make art is not an easy thing if you live in fear.
|
||||
|
|
@ -603,21 +603,21 @@ from it. Is that right?
|
|||
|
||||
**Shatta:** No, it's not only like that. I really love my art. For me, I
|
||||
need it, I feel the beauty of it. And when people see that too, I see it
|
||||
more and I appreciate that. Wow. It means a lot to me. I attract someone
|
||||
more and I appreciate that. Wow! It means a lot to me. I attract someone
|
||||
through my art.
|
||||
|
||||
**Boozer:** That it's having an impact, someone's finding meaning in it,
|
||||
and making a connection with you? That it helps you see your art in a
|
||||
new way?
|
||||
|
||||
**Shatta:** Yes. And that's beautiful. Wow. What I'm trying to say is,
|
||||
**Shatta:** Yes. And that's beautiful -- wow -- What I'm trying to say is,
|
||||
yeah, I appreciate that. Art, it comes from the soul. It is the language
|
||||
of the heart, so when people like my art it makes me feel I am honest
|
||||
when I am painting and when I am drawing. And also, it connects me. For
|
||||
instance, my art is like research. When I start a painting, I start to
|
||||
search. I like to go deep, and deep, and deep. And even it connects me,
|
||||
especially the project I'm working on now which is about history, about
|
||||
humans, about Sudan, Nubia, about many things. But also, wow, it's a
|
||||
humans, about Sudan, Nubia, about many things. But also -- wow -- it's a
|
||||
sign of how those people find me and my art. Why me? That's why I'm
|
||||
saying I believe in this art.
|
||||
|
||||
|
|
@ -626,16 +626,16 @@ the people who have been displaced due to the current war? Does art have
|
|||
a place in giving people a feeling of home?
|
||||
|
||||
**Shatta:** I know we have war in Sudan. But I can't speak for any
|
||||
artist, but in a way, it needs time to observe. You can always paint.
|
||||
artist, but in a way, an artist needs time to observe. You can always paint.
|
||||
You know this painting? This is the first painting I made just about
|
||||
Sudan (figure 13) after I went to Cairo after one year. I campaigned
|
||||
about war, I campaigned about war, but I didn't feel it. You see? But
|
||||
me, in Cairo, I couldn't ignore it. That's why I made this painting.
|
||||
Because of what is going on in Sudan. It makes me have to try to
|
||||
understand the whole things, how we came to this war, just to attack. To
|
||||
understand the whole thing, how we came to this war, just to attack. To
|
||||
attack what is going on. Because for me, what comes out, it is part of
|
||||
the solution. You see now, this is part of the solution. And it is part
|
||||
of the problem. It's a lot of things. It's the politics. Its many
|
||||
of the problem. It's a lot of things. It's the politics. It's many
|
||||
things. But at the same time, art is the witness of the time. From
|
||||
person to person, it is different. But I don't feel I can speak about
|
||||
this question in Sudan, but still I paint. I paint. I painted this
|
||||
|
|
@ -675,5 +675,11 @@ power. It's a lot of things. So, this is what I'm exploring.
|
|||
|
||||
**Shatta:** Yes.
|
||||
|
||||
[^1]: *Yanni* is a filler used in spoken Arabic equivalent to "like" or
|
||||
|
||||
|
||||
[^1]: In “The Migration of the Soul” series I have been dealing with the way we may feel out of place. When we have to flee, from one country to another, from your home to a camp, from your worn torn village to the capital city, that is not simply physical migration but manifests in our feeling a sensation of being disconnected. Fleeing your home and having to settle in another country or a capital, where you have little resources, no connections, arriving with trauma and emotional baggage for which there might be no help available, having to carve out a place for yourself in an unfamiliar society, is an alienating experience. I make frequent use of ancient Kemetic and Cushitic symbols from the historical kingdoms of the Nile valley civilisations, the ancestors of the community in which I was born in Sudan’s Nuba mountains. I want to show how our past is connected to our present selves, and that when we lose the connection to the past, we may feel displaced. When we don’t know who we are, we feel lost. I also seek to explore how the alienating and seemingly chaotic state of migration connects us. Whether we have fled war and trauma or not, we face suffering and hurt, we feel disconnected and lost. Our souls may transfer - migrate, if you will - to a different place and, paradoxically, that alienating experience brings us all closer. Through exploring what I refer to as the migration of the soul, I believe that we may understand each other better. In the “Migration of the Soul” series, the sensation is of being out of place. We live in a time where many people feel a disconnection from their own bodies and existence.
|
||||
|
||||
[^2]: The “Gods in Action” series offers a perspective on how we represent the divine through art, craft, music, and dance. As a point of departure, I want to focus on indigenous communities in multiple parts of the world, one of which includes myself as a member, as a member of an indigenous community in the Nuba mountains of Sudan. I explore how these expressions are shaped by the environment we live in, how they differ and what connects them. I want to invite you to a journey from the Nile to the Oceanic communities of the Pacific Ocean, and beyond. I explore how the divine is expressed and experienced in the environment we live in, and in our art and rituals, as well as to explore the belief systems we use to enable ourselves to conceptualize it. And I explore how these expressions connect to a wider context, beyond the communities.
|
||||
|
||||
[^3]: *Yanni* is a filler used in spoken Arabic equivalent to "like" or
|
||||
"you know" in English.
|
||||
|
|
|
|||
Loading…
Add table
Reference in a new issue