Glowing Phalanges: Prayer beads 33

2021

Sculptural installation with 33 pieces installed on a cast of my right hand. 

Sculptures in ebony, wood, aluminum, epoxy, wenge wood, lion fang, brass, Red Sea corals, reindeer horn, mahogany, black palm, eucalyptus, snake skin, mahogany, copper, walnut, buffalo horn, stingray teeth, African hardwood, Red sand from Sudan, mahogny, Paua shell, Olive wood, limestone from the 19th pyramid in Meroë (Sudan), Macassar ebony, warthog tusk, pumpkin, horsetail, my hair, epoxy,, stone, aluminium, ivory, dried cow hide, cow horn, crocodile back shells, Raccoon penis bone, Hyphaene Thebaica seed (Sudan), African hardwood, leopard skin, human tooth, human kidney stone, and Kiisi soapstone. 

Ruqyah - Invocation - رقية

2022

Drawing installation dispalyed at Tegnerforbundet 2022 accompanying the exhibition of the Sudanese modernist Ibrahim AlSalahi. 

Drawing 150x150 cm

Marker, chalk marker, acrylic on paper. 

Marker, chalk marker, acrylic on paper.

245x150 cm

Marker and acrylic on paper.

30x30 cm

Marker, graphite and acrylic on paper. 

100x150 cm

Acrylic cast of my right hand.

Glowing Phalanges: A prayer for each phalanx in my right hand

2019

15 sculpture in wood, stone horn, feather, robe, limestone on a cast of my own right hand. 

15 sculpture in wood, stone horn, feather, robe, limestone on a cast of my own right hand. 

Carrying the face of ugliness

2018

Series of portraits with 8 LGBT+ people in Sudan. 

Identitet-Brodert

2018

Design of a Norwegian/Sudanese bunad. 

#White-March

2019

A selfportrait in support for the women march in Sudan during the revolution of 2018-2019

The Revolutionary Women of Sudan (The Kandakas)

2021

A series created to honor Sudanese women in the revolution time and women who live revolutionary lives, according to the Sudanese social standards.
Women in Sudan have been in the lead in every political/social change, no exception is our current revolution that started in 2019. But sadly, quite unfairly represented in the governing bodies.
Another agenda behind this project is to build a new visual archive of Sudanese women, free from the influences of the past 30 years of the so-called “Islamic renaissance” of AlBashir dictatorship time. Just Sudaneseness at its purest traditional form. No shame, but pride of who we came from.
In every picture I add a halo of Bartal, a beautifully designed circular food tray cover crafted by women in west Sudan, Darfur.

Document: The massacre of Khartoum

2019

Document with the names of the victims murdered by the military government of Sudan in 2019's revolution. 

Acrylic on 4 canvas parts.

500x150 cm 

Hijab (Annual Protection)

2017

365 leather objects stretched on a leather cord.
Total length 30 meters.

"Would any of you love to eat the flesh of his dead brother?"

2017

A body cast in 29 parts hanged in metal wire. Inspired by the vers ""Would any of you like to eat a dead brother’s flesh?" (49:12) from the Holy Quarn. Total size when assemeled 180x60x35cm. Earthenware, glazed with Redcopper (Oxblood)

What Lasts! (Sarcophagus)

2016

A ceremonial project that consist of three ceramic sculptures: a sarcophagus, a grave and a self portrait.

What Lasts (Sarcophagus): Made to fit the artist body and is 200cm long, 85cm wide, 65cm in hight and weighs ca 200 kg.

What Lasts! (Grave)

2016

A ceremonial project that consist of three ceramic sculptures: a sarcophagus, a grave and a self portrait.

Sculpture, 2016 earthenware, mashed paper ca 200x80x40 cm What Lasts is a work that began when I casted my whole body in mashed paper. Using 1.5 to 2 cm cut clay slabs, I transcripted the verse of the Holy Quran that tells the story of Sodom and Gomorra: (81) And [We had sent] Lot when he said to his people, "Do you commit such immorality as no one has preceded you with from among the worlds? (82) Indeed, you approach men with desire, instead of women. Rather, you are a transgressing people." -Surat Al-A'raf. These verses along with a few other passages continue to be used to condemn and kill LGBTQI individuals in some Islamic countries, including Sudan, where I come from. The writing was performed in fine Arabic calligraphy, such as the one used in Kaaba, the holy black house of Mecca.

What Lasts! (Self Portrait)

2016

A ceremonial project that consist of three ceramic sculptures: a sarcophagus, a grave and a self portrait.

A self portrait in a distrctive period. The sculpture have my body measurement and my hight.
Earthenware, 175x45cm and weighs ca. 60 kg

Thawr, Thawra (Ox, Revolution)

2014

Thawar, Thawra is a translation to (Ox, Revolution) in Arabic. The words in Arabic are in two genders where the masculine Thawr means; an ox while the feminine Thawra means; revolution. I made this sculpture in the period where my home country of Sudan was torn by a failing revolution under the Arab Spring. Also to express the aftermath of coming out publicly as homosexual. The sculpture is glazed with Red copper, or Oxblood.

Earthenware, 235 cm in length, 135 cm hight, 110 wide and weighs around 1.4 ton. The horns are detachable and are 165 cm each.

If you no longer have a family, make your own with clay!

2013
A 60 minutes live performance. This performance is inspired by a children say from Sudan. It is often said to symbolize frustration about people who act against your good. For instance, if a cousin of you is mean towards you then your friend would say: If that is the way your cousin is, a cousin made of clay will be better than him. For this performance I made 230 figures of those who boikotted me after the news of me being gay started to surface.

Funeral Ceremony

2014

Funeral ceremony is an homage to my father whom I lost while living in Norway.
Sudanese tradition applies that a man should stand solid, not cry or show emotions when loosing someone dear. It is also supported by a religious belief that if a person cries the dead that will hurt them in their graves. I made this installation to mourn my father following the steps of the Muslim funral ceremony. I treated the copper plate as my father's body. I cut it in his length and draw him laying in his hospital bed in his last days. An image that I have never seen and no one yet told me about for over 9 years now. I washed the plate, rolled it in cotton and perfumed it with one of his favorite scents and hanged the print and the plate beisde on the exhibition room.

Etching and aquatient, 200 x 100 cm. Copper plate 174 x 60 cm and cotton.

The Hijab Collection

2016

Hijab collection within "Resilience" exhibition

2017

The openning performance with the pieces: Hijab (Necklace) and Hijab (annual portection: in process), Gallery Format, Oslo

Purification set

2016

Purification Set is a set of abolution pottery that is used to prepare for the Muslim prayer. This kind of pottery is already vanished from the daily use as other substitutes took over. I made them rather larger than the original size.
Earthenware, glazed. Hight of the pot 55 cm the plate diameter is 55 cm.

Acrylic Paintings

2013

Acrylic paintings. Size range 100x100 cm 120x150 cm. Between 2013-2016