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

Series of portraits with 8 LGBT+ people in Sudan. 

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

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

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)

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.

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.

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