Ibrahim El-Salahi

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Ibrahim El-Salahi발음듣기

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Many times people ask me, what do you do? I said, ‘I’m a picture maker’.발음듣기

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Photographer? I said, ‘No, I paint.’발음듣기

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House painter?발음듣기

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‘No, I wish I were, because I could have earned more money by being a house painter!’발음듣기

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But I said, ‘I paint pictures. I make them on my own, and I try to see how they go.’발음듣기

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I don’t differentiate between drawing and painting.발음듣기

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It’s all art, works of art.발음듣기

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Though I’m never satisfied at all with what I do because I keep continuously working, and this is what gives me the urge to keep on and on and on with it.발음듣기

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I believe that the artist, when he works there are three people to address, self, the ego, which is, unless you satisfy that ego no work will come out at all.발음듣기

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Secondly it’s others, the people in your own culture, in your own family in your own neighborhood.발음듣기

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And the third person is all human beings, wherever it might be.발음듣기

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The colour which I work for some years, burnt sienna, ochre, yellow ochres, white and blacks it’s the colour of the earth in the Sudan, which I cared a great deal about and the idea of the organic growth of a picture.발음듣기

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'In the Reborn Sounds of Childhood, Dream number one' it was one piece.발음듣기

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The one that the Tate took, that I did when I was teaching at the art college in Sudan.발음듣기

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I remember we had a commission to make some paintings for the municipal council and with a friend of mine, we had a large piece of cloth which we primed and worked on it in the studio where I used to teach.발음듣기

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So we separated, and we used the scissors where I cut and I got my part, and I kept working on it.발음듣기

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I was so excited about the idea whatever came through my vision.발음듣기

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And the thing is that I used, even with the oil paint I used enamel paint, which was terrible, enamel paint for a piece of cloth!발음듣기

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To tell you the truth, when I am working, I am not at all aware of what it is going to look like.발음듣기

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I work, I feel as if I am possessed by some other power within me which is producing that work and that’s why all I can recognize is the nucleus.발음듣기

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In the nucleus, yes, I can see that this is a germ of an idea.발음듣기

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How it’s going to grow into a larger size I have no idea whatsoever, I just keep working.발음듣기

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And when I, by keeping working, the work develops by itself and shows me things possibly in my subconscious mind that I am not at all aware of what it is all about.발음듣기

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And that’s why I prefer not to give it a name.발음듣기

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Yet sometimes it becomes so obvious that that has got a name, and it tells me.발음듣기

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You know, it’s almost like children growing.발음듣기

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You give them a name, then later on they change their name and they give you another kind of image continuously.발음듣기

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That’s why I almost gave up after giving so many names I said never mind about the names, let that be judged by the viewer.발음듣기

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And the viewer, I think, has got a role to play that when you look at the work what the work means to you is the most, for me, is far more important because that is the message.발음듣기

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What it means altogether is up to them, not to me.발음듣기

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And otherwise, I will be almost like dictating my thing giving it a name to start with I’m dictating what he should understand or what she understands, I leave it to them.발음듣기

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