nedim kufi versatile expression
152
153
profile
profile
From the heart of Iraq to the heart of Europe, Nedim Kufi has lived an extraordinary life of suffering and isolation. Adventures in mixed media - from paper and flowers to earth and ceramics - have helped him create intimate expressions of thought that straddle the disciplines of printing, etching, sculpture and design. Drawing on the Islamic tradition of repetition and patterning, Kufi is a virtuoso of improvisation and experimentation. In an exclusive interview during his latest exhibition in Jordan, Kufi recalls his journey into art.
Previous pages: ‘Deep Asleep 1’. 2002. Acrylic and ink on rice paper. 44 x 54 cm. Facing page: ‘Finch’. 2007. Acrylic and wax on paper. 50 x 65 cm.
anging in limbo between East and West, Nedim Kufi’s
due to this ‘duality’ of existence; being “physically in Europe,
life has been moulded by modern-day politics. Born
but mentally in the Middle East”. As a result, he confronts
in Iraq, he studied printmaking and sculpture in Baghdad.
the challenges that many artists face today in attempting to
Following university, he was conscripted into the Iraqi military
define their affinities and roots, and to learn about exactly
for the war against Iran. Held in the grip of the Baath party, the
who they are and to where they belong. “The duality of an
Iraqi people stared death in
inherited Arab identity and
the face and those under
a life in the ‘West’ is an
the
slightest
suspicion
would instantly be shot. “Even
sketching
and
drawing was considered a betrayal to the party,” Kufi says. “I was afraid to draw and paint when I was
“I was afraid to draw and paint when I was a soldier in the war. I did small sketches in secret because it was considered illegal… I painted landscapes of other places that would take me away from the reality of the war.”
existence I fear,” he says. “I fear that the temptation of the West will drown me. Nonetheless,
the
magic
of the Arab world pulls me back all the time… there is no harm in coming back to
a soldier in the war. I did
your heritage; although our
small sketches in secret
roots are combined with a
because it was considered illegal… I painted landscapes of
lot of problems. Yet I feel it is important to come back.” Kufi
other places that would take me away from the reality of the
describes The Netherlands as his studio, as “a space to create
war.” The pain of such conflict later became one of the main
my work; everything is dependable. I know what time the bus
elements in his work.
arrives. I know where to find the materials I need. When I wake up everything is where it was yesterday.”
Straddling Destinies
T E X T
BY
S A M A H
P H O T O G R A P H Y 154
BY
H I J AW I
J A N
KA S S AY
Kufi was never able to realise his creative projects in his
Myriad Media
homeland. After the war, the artist escaped, leaving his family
A spiritual artist, Kufi works from a deeply rooted bond with
behind, in search of a life in Europe with the stability and
his work; and the materials he uses are a fundamental part
security he yearned for. Having eventually obtained Dutch
of the artistic process. His works range from organic henna,
citizenship, Kufi continued his studies in Graphic Design at the
handmade paper - which he produces himself - as well
Hogeschool voor de Kunsten Utrecht in Holland. During his
as new media such as video, animation and installation.
studies his tutors encouraged him to experiment with digital
His pieces explore a number of ideas mostly linked to
technology and combine it with his Fine Art education.
personal experience.
When asked how his life has impacted on his identity and
Traditionally a two-dimensional artist, Kufi expresses a
sense of belonging so far, Kufi explains the difficulties he faces
long and turbulent rapport with painting; one that is connected 155
profile
profile
“The duality of an inherited Arab identity and a life in the ‘West’ is an existence I fear. I fear that the temptation of the West will drown me. Nonetheless, the magic of the Arab world pulls me back all the time.”
“The book is a treasure in Arab heritage… It has its own ‘fine art’ that modern technology fails to match in splendour. The book represents a friend, a conversation and an intimate place that has many layers of meaning.” Kufi’s works investigate the notion of the book, scripture,
a new direction and technique that is so evident in his more
to his experience during the Iran-Iraq war when death constantly
Defying Normality
lurked in the shadows. During that time, he questioned the
The emptiness lasted almost two years during which Kufi
writing and keeping diaries. This is also seen in his work ‘Daftar’,
relationship between art and death. Thoughtfully, Kufi identifies
experimented with a variety of media: from graphic art,
an online diary in Arabic that was created in collaboration with
this painful experience with painting; pain and ‘pain-ting’ being
photography and video, to architectural drawings and even
several fellow Iraqi artists. The collected writings form an essay
Spatial Awareness
one, in that “pain is one of the main elements used in creating
online diaries.
of cultural experiences. When asked what the book means to
His latest exhibition entitled ‘Makhtoutat’ (Manuscripts) at
a painting. It is a rich element that has many facets and adds a
One of these productions entitled ‘Electro I’ (2006), is a video
him, Kufi explains, “The book is a treasure in Arab heritage. It
Lines Gallery in Amman, Jordan, features a collection of works
different dimension to the work,” he explains.
work series in a sequence of independent chapters (as a book
stands against the icon and the canvas in Western heritage. It
that present the book through its different functionalities: as
Kufi reached saturation point with painting. “Creating a
might be divided) to be screened consecutively, but with no
has its own ‘fine art’ that modern technology fails to match in
a passport, diary, account or a novel. The paintings - created
painting just wasn’t satisfying anymore,” he recalls. “I tried a
conclusion. The work explores the banal in the day-to-day
splendour. The book represents a friend, a conversation and
using a variety of materials including photography, cloth, and
lot of things; I painted smaller and then larger works, changed
existence of the contemporary Arab citizen, as seen through
an intimate place that has many layers of meaning.”
dried flowers - make reference to the book as an aide memoire,
subject matter, but still I felt frustrated”. So Kufi decided it was
the artist’s apparently pointless activities of reading, burning
Time off from the practice of painting led Kufi to
an identification tool and a financial record. The works
time for a change. “When one expects what will happen, one
paper and resting his head on a pile of books. Filmed in black
approach the two-dimensional surface and its subject matter
delicately demonstrate an array of techniques and materials,
falls into the trap of repetition.” The experience brought about
and white, the work is shot within the frame of a bottle, thus
in a very different light. “The painting as a single scene - a
creating a layered transparency that transforms Kufi’s practice
many questions and led to a period of self-doubt. “I was well
playing upon the phrase ‘message in a bottle’.
moment in the timeline of a story - could be a conscious
from conventional two-dimensional expression into a three-
informed about the tradition of painting - its history and its
Here, Kufi wants to communicate with the viewer about the
choice or an entirely accidental one, where the artist is usually
dimensional world that revels in a sense of space.
development as a process through
absurdity of normality as pursued under the current political
convinced that this particular scene says it all.” These ideas led
Amid such freedom, the audience is invited to interpret
Left: ‘Butterfly Effect I’. 2002. Ink on paper. 41 x 59 cm. Right: ‘Butterfly Effect II’. 2002. Ink on paper. 41 x 59 cm.
time,” he says. “Yet I was unable to
state of affairs. The audience feels as if they are peeping
Kufi to ask, “Where is the rest of the film?” Through his studies
the ‘book’ as they please. Every piece allows room for
understand why I had reached this
into a private activity or as if witnessing the scene through a
of architecture, he says “I found new elements to explore;
suggestion and participation. Kufi finds it important to break
Facing page: ‘Snakes and Ladders’. 2002. Acrylic on rice paper. 45 x 98 cm.
feeling of dissatisfaction with the works
keyhole that invokes a distance from the work, adding a sense
the element of space and its effect on the audience and
the fear factor between the viewer and his artwork; and this
I produced.”
of absurdity.
perception of the artwork.” These ideas helped him establish
is demonstrated in one of the pieces composed of dried
156
recent paintings.
157
profile
profile
flowers, which lures the audience to interact not only through
Sensual Direction
sight, but also through touch. Another piece uses one of
So what next and where? One thing is certain, “I have a
Kufi’s trademarks - repetition. ‘Naqd’, meaning coin or money,
responsibility to stay connected to the Middle East,” Kufi says.
also refers to the practice of art criticism. Both interpretations
His next exhibition will reflect his inexhaustible spirit and playful
resonate in today’s world, and the artist makes fun of both by
nature to experiment with new materials. “Soap has many
intimating the loss of the true value of art; emphasised through
healing qualities,” he says. “Specifically in the ingredients
repetitive elements throughout. A third piece ‘To Remember,
that are used to make it.” The idea comes from a personal
To Forget’ is a personal nota bene. “In my day-to-day life -
interest in the ancient traditions of the Attar (homeopath); a
and I see it with others as well, people tend to forget to say
profession that has been passed down through generations.
what they want. They don’t remember to express themselves,
Kufi researched the subject during a homeopathy residency
whether negatively or positively, about confessions, feelings or
in Brooklyn, New York, in 2004. He talks with passion about
opinions. Even simple things such as ‘thank you’ or ‘sorry’ are
the textures created when soap is used as an artistic material.
left unsaid.” Kufi translates this idea onto canvas by using stark
“Painting isn’t just a two-dimensional surface on a wall, it has
shades of yellow - inspired by the familiar ‘Post-it’ notes - with
an age and it has its own existence that goes beyond that of
black to symbolise forgetfulness.
the painter. I want to explore these possibilities through the
Within Kufi’s Amman show, one work stands out from
sense of smell, as well as sight by using soap”.
the rest. ‘Beyond Childhood’ shows the legs of a child behind a veil of flat, neon blue that covers the rest Left: ‘Makhtuta’ (Manuscript). 2007. Oil and tea on canvas. 120 x 100 cm. Right: ‘Blank Book’. 2007. Mixed media on canvas. 120 x 100 cm. Facing page: ‘Naqd’. 2007. Mixed media print on canvas. 120 x 100 cm.
158
of the canvas. “It questions, it stands out and it points towards perhaps a
Nedim Kufi will exhibit at Gemak Gallery, The Hague,
new experiment in the future. It poses
Holland, 1-20 January; at Atassi Gallery, Damascus, in
a question and opens the door to new
March; and The Phatory Gallery, New York, in May. For
projects,” he says.
information, visit www.2nedim.com and www.daftar.nl 159