Ibrahim El Salahi is widely seen as one of the progenitors of modern painting in the Sudan. His oeuvre has often been divided into three periods: an early period (late 1950s-1970s) characterized by muted, earthy tones and a linear compositional style; a second period (late 1970s) with more vibrant colors and “abstract human and animal-like figures rendered in geometric design,” and a third phase (late 70s to present) in which works are mainly in black and white[1]. While the works can be loosely organized within these categories, this paper addresses currents that unite these periods. Specifically, El Salahi’s narration of his career trajectory reveals a consistent interest in negotiating the relationship and bridging the distance between his body and his work. In short, he considers the process of coming to the canvas or paper as the meeting of two bodies and subjectivities—his own and the canvas’s. The work then grows from a conversation (and sometimes an argument) between the two. This negotiation between the artist’s body and the canvas takes place throughout his career at several levels—through prayer and meditation, media, compositional construction, and imagery. Further, el Salahi’s attempts to link his own body (as a creator) to the work (as a creation) shift slowly over time from engagement with the exterior, physical body to representations of a “spiritual body.” This transformation mirrors his ongoing use of prayer and meditation as a means to bring himself closer to God.
[1] Salah Hassan, “Ibrahim el Salahi,” Nka 9:31-32.