Sudanese plastic arts movement has passed different stages of development towards crystallizing its national identity since 1950s when first graduates of Faculty of Fine and Applied Arts joined social mobility aimed at liberating from colonialism as well as cultural alienation.
The graduates of the faculty exerted tangible efforts to find aesthetical values derived from the heart of the local community to cope with the national scheme of Sudanization adopted by Sudanese intelligence at time.
The artistic art then was relevant to social development took place not only in Sudan but also across the region since its beginning.
It is remarkable that number of Sudanese artists has increased tangibly throughout recent period. The increase has contributed negatively to change traditional visions adopted by considerable number of people accusing plastic art of uncertainty as well as ambiguity.
The remarkable turnout to galleries nowadays proves that the long journey paced by Sudanese artistic movement has finally reached a destination where plastic art can find a room in a society once gazed on it suspiciously.
Sudan Vision Daily interviewed the painter Adam Ali al Radi to enlighten readers about recent and current developments of plastic art movement in the country.
Q: When did your relation with art kick off?
A: Since early childhood I used to paint and use clay to make different shapes. When I went to primary school my talent began to draw others' attention and a number of teachers encouraged me.
Q: Has your family support you? Haven't they tried to make you change your mind?
A: I can say that I am part of democratic family. My elder brother is a good painter and my family prepared good environment for my talent to develop naturally.
Q: How did you join Faculty of Fine Arts?
A: I was admitted at Juba University-Faculty of Fine Arts. When we finished our first year at university there were no more than four fine arts students. The university asked either to join other faculties or joining Sudan University Faculty of Fine Arts. I chose to join Sudan University and my family encouraged me to do so.
Q: There are number of artistic currents in Sudan. Which one of them affected your artistic work?
A: During the 1950s a number of artistic currents emerged in Sudan. Khartoum School concentrated on reconsidering Sudanese artistic heritage while One School, established by late Ahmad Abdul Aa'al, concentrated on involving Sufi values in artistic work.
I think One School has contributed tangibly to the development of Sudanese plastic art movement.
Q: Can you remember your first gallery?
A: My first gallery was relevant to the event of Khartoum center of Arab culture conducted in 2005. I was the representative of Khartoum state at that gallery and I won the first prize allocated for the best contribution.
Later I took part in a gallery called "Secretary of the Unknown Streets" which allocated to portrait experiences of homeless children. The gallery was based on innovative vision as it didn't follow traditional rules systemizing galleries. We display our paints in the open air.
Q: What other galleries have you taken part in?
A: I am a member of a group of artists organizing annual gallery based on partnership between number of artists work together to produce artistic works belong to the a group not to individual. I also took part in "Black and White Gallery" and "What else?" in addition to various galleries.
Q: What the message that the gallery titled "What else?" tries to convey?
A: It is my current gallery conducted in Al Rabei Center for Youth. The gallery has been named in the name of one of the paintings bearing the same name.
The gallery simply points out that there are many questions in our life need for answers.
Q: What are your favorite materials when you paint?
A: I almost use all materials including pencils, water and oil colors. I also use all types of cloth and wood used for painting.
Q: Who is responsible for misunderstanding of paintings among the members of public?
A: In general understanding of abstract paintings depends on one's culture however misunderstanding of artistic works can be attributed to lack of artistic culture as well little knowledge of artistic rules. I think negligence of arts by government is one of the important factors contributing to misunderstanding.
Q: To what do you ascribe high prices of particular paintings?
A: I think it is better that painting can be afforded by all citizens the thing facilitates spread of artistic culture.
Q: Can you tell us about the most adorable painting that has left strong effect on you?
A: I love the paintings of Renoir and Cézanne. The two in addition to other artists left striking paintings still enjoying incredible admiration.
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