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Born in Suleimanye Kurdistan Iraq in 1962.

STATEMENT

An important factor complicating the formation of a Kurdish identity is that Kurdistan‟s
geographic sovereignty has never been recognised; Kurdish artists were misrepresented as
Iraqi, Iranian, Syrian or Turkish ( examples are at the British Museum of Zewieh during the
sasanian dinasty that the Kurdish village of Zewieh is not recognised as a Kurdish area or
Kurdish arts. It is labelled Iran).
Traditional forms of painting, sculpture and other decorative art forms like ceramics draw
their motifs from centuries-old mythology and show a vivid use of colour and often highly
abstract and stylised ornamentation.
In the past 24 years my work has been shaped by a new cultural and political environment.
My work has always been influenced by a strong political conviction in response to the
environment that I grew up in, which was dominated by the unfair treatment of my people.
Ever since I started work in Europe I have collaborated with other artists – poets, performers,
story tellers.
The role of women in the pre-Islamic era was far more prominent. In the ancient artifacts the
mother occupies the central role in the family. Women had an active role working in all fields
alongside men. Decision makers and rulers were women as well as men.
Coming from a strongly patriarchal society after the Islamic invasion of Kurdistan I have
always tried to reject defining gender in my figurative work. Inspired by pre-Islamic figurative
works of ancient artefacts that exist in the museums in Kurdistan, I want to make the viewer
change his/ her way of looking – to see man and woman as equal.
My new work in ceramics has entered a different phase – it is more like relief than drawing on
clay. The lines are deeper in some areas and my drawing has matured, Lines have a
significant meaning for me ever since I was a child and was able to understand that the
borders of my homeland were occupied. In these drawings I am defining the borders and
insisting on them to shape my form. It is important to me to see unbroken lines.
In all the drawings eyes and hands are repeated – they convey the inner feelings of the
figures to the viewer.
Some forms consist of straight lines and some of curved lines to create contrast. Some
curves are exaggerated to create maximum effect. In the process of transferring the lines
from paper and digital media onto clay I have tried not to copy the lines in exact form;
instead I have drawn them more freely and sensuously. In these works gender is not
specified. I have chosen no artificial colours in the new work. They are natural and earthy.
The clay colours are inspired by the culture of the Mesopotamian period, from which my
culture originated
The process moves from drawing to digital media, then to print. From print it moves on to
painting, and finally to clay. This process of transformation or reinterpretation is to be
completed in form of 3D sculptures

Group Shows

1984/89  Tehran(Gallery Azadi and Gallery Hana Saura)
1990         Kurdish Institute in Paris
1992         Gallery A.C.A.P. / Barcelona,
Citizens Gallery / Florsbachtal (Germany)
1993          “Métissage et Modernité” / Grenoble (France)
Galery Le sous sol / Paris,
1995          Quicksilver Gallery
1997           Lebovic Gallery / Canada
2000          Metropolitan Museum Tokio
2001          Global Canada Cultural Exchanges-.
2002          Metropolitan Museum Tokyo- Japan
Faulconer Gallery USA
2003          Leave to remain – Central Space – London- BBC London

Solo Shows
1984   Poetical Postress / Hawler(Kurdistan)
1991   Wattrelos (France)
Atelier Gallerie / Lille
1992    Kurdish Cultural Centre/ London
1994    Wood Green Gallery / London
1996     Gallery Space / London, Sadler’s Wells Theatre
1996     Riverside Studios Gallery
1997      Gallery Fibiti/ Amsterdam
1998      Pitshanger Manor& Gallery/ London
1999      Haaksbergen Gallery&Koempoelan Gallery/ Holland
2001      My Home – Lyric Hammersmith-
2002      Medborgerhuset Norre Alle / copenhagen
2003      Swarthmore College- USA
2004      Riverside Studios / London,
2005       Brunei Gallery / London
2005       Faulconer Gallery USA.
2007       Sardem Gallery/ Sulymany
Colour & Word
1999 pitshanger Manor & Gallery,
Brunei Gallery / London
2001 Riverside Studios Gallery
Faulconer Gallery USA
2002 Marie de La Madeleine (France)