An interview with Ahmed Alsoudani, an Iraqi artist living and working in Berlin.

Alsoudani will be showing work at
Art Dubai this year and is represent by Goff + Rosenthal, Stand B9

Reem Fekri: The background of how you arrived to the USA is well known. Fleeing Iraq to go toSyria illegally, then claiming asylum for the US is subtly reflected within your artistic practice. It seems that war has
become part of your identity and is inherent within the paintings produced – perhaps it is too soon to say, but do you think you will ever become detached from notions of war?

Ahmed Alsoudani: War is very central to my work and I cannot say whether that will change in the future. But that’s not to say my work hasn’t changed or evolved. A few years a go when I was an undergrad student I employed a lot of colors in my paintings. Then three years ago I dropped colors to be able to investigate more formal issues . And just last year I came back to color because I think I have found a way to balance form and color with the same intensity. But maybe these are just the small wars of a painter…

RF: Dealing with issues of war and the thin line between life and death are dominant and carefully weaved through the monochromatic colors, solid shapes and bold lines. Continuously (and I have to admit, almost tiresomely) you are compared to Picasso, Goya, Bacon and de Kooning – all the great Western icons of the art world. Are there any inspirations from the Middle Eastern region that you look to for inspiration?

AA: There is not a huge amount of artists from Iraq and other Arabic countries that I especially like. With all due respect I don’t look at them as a source of inspirations as we—and by we, I mean we conteporary Arab artists--are way behind in this matter. The few things that I know about painting come from “western icons” as you call them!

RF: How do you feel about your massive achievements of the last decade - going from living in illegal residence in Damascus to the prestigious Yale School of Art?

AS: Its very kind of you to call what I have done ‘massive achievements’, but I am really just starting out. On the other hand I feel so lucky to have had the chance to study with very interesting artists at such an amazing school like Yale.

RF: Now that you are an American citizen do you feel that you have lost part of your identity because of the loss of the Iraqi passport?

AA: I don’t feel I lost part of my identity because identity is not a piece of paper. I was born in Baghdad, this is fact, but I’m proud to be a US citizen and to be part of a great nation .

RF: Have you returned to Iraq since you left?

AA: I have not.

RF: There is an increasing importance on the emergence of the Middle Eastern art market. Have you witnessed a growth in artists from the region?

AA: I think Middle eastern artists have the same potential as any other artists from any place when they have a chance to study in a good art institution. Middle Eastern artists need access to information and education and with these resources they will do well. I have certainly witnessed a growth in artists from the region but at the same time we are in the 21st century and some Arab countries don’t yet have an art school!

RF: What is your favorite piece of artwork and why?

AA: There is painting by Philip Guston called “Group in Sea” from 1979. It’s a very depressing and sad painting and it’s a fantastic piece of art . During the 1990s thousands of Iraqi people were killed while they attempted to escape the country to go to Europe .Guston’s painting reminds me of those who sank in the seas in their way out.

RF: Your paintings are almost always surprisingly large (i.e. 9 by 7 foot) – have you always used large scale? Is there a reason why you do?

AA: Most of the scenes I depict in my work have to do with moments, or scenes, of devastation. I am interested in how people’s faces, bodies and identities distort and change in these circumstances and in order to capture all of these changes from different angles I need a large scale canvas to do that. A large canvas allows me to depict people and scenes over a stretch of time.

Photo Credits:

1 – Ahmad Alsoudani, Untitled, 2009
Image courtesy of Artist and Goff + Rosenthal

2 – Ahmad Alsoudani, Untitled, 2009
Image courtesy of Artist and Goff + Rosenthal

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