Ibrahim El Salahi’s art, situated between Islamic textuality, African plastic forms, and transnational modernism, is distinctive in developing an aesthetic of decolonization for the Sudan and much of Africa. However, it can be usefully compared with other modernist artists from the Muslim world, who, working in the diverse region that encompasses North Africa, the Middle East, and western and southern Asia between 1955 and 1975, contributed to a movement that transformed calligraphy into modern art. Mostly without direct knowledge of each other’s work, El Salahi in the Sudan, Sadequain Naqqash in Pakistan, Charles-Hossein Zenderoudi in Iran, Shakir Hassan Al Sa’id in Iraq, and many others created a new aesthetic language of calligraphic figuration and abstraction. (Iftikhar Dadi)
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Visual Diary in Time Waste Palace-XLVIII | Pen and Ink on paper | 7.5 by 7.5 inches | 1997
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