Born 1987 in Somalia Magare lives and works in Birmingham. He is a multidisciplinary artist who primarily works in painting and writing.
Magare’s paintings are heavy layered constructs – a ritual practice which uses materials such as frankincense and charcoal. The use of indigenous materials in his work conceptualises the historical background of nomadic people from East Africa as well as a gestural exploration of the frankincense trade today. His work engages in conversations of culture and racial identity. Particularly exploring micro-dissections of self-identity and hyper-dislocation, referencing socio-political placement of black bodies within the Somali global migrant experience, whilst expanding on spirituality and taboo subjects.
Running Free, 2017 / mixed media on canvas / 152 x 152 inThe Talk, 2017 / mixed media on canvas / 152 x 152 inThe Cut, 2017 / mixed media on canvas / 152 x 152 inThe Party, 2017 / mixed media on canvas / 152 x 152 inThe Healing, 2017 / mixed media on canvas / 152 x 152 in
The core focus of my practice is heritage, identity and culture. I explore challenging avenues to depict personal journeys as an urban nomad, a traveller and storyteller.
I work in the formats of installation, sculpture and photography but I mainly specialise in ‘uunsi‘ incense and henna drawing – I draw on fabriano paper, canvas, wood and fabrics (traditional Somali fabrics)
I tend to draw from memory, focusing on past events, which become childlike and playful drawings – these then form into written material for my poetic and performance work.
In particular, the nostalgic feel of ‘fabric drawings’ which I call ”celebrate sculptures of past memories.” My interests lie in the poetic sequence, not remembering my words but rather reading out passages to remember lost thoughts.
I am currently focusing on the notion of cultural authority, ownership, displacement and sleepwalking as a meditative process in my performance.
Art & Writing
To further understand the developing progress of my practice:
My practice is split between art & writing.
Both disciplines stimulate my creative drive and support my practice development.
Art : physical work which is supported by the written material – both shift in contrasting order.
Writing : consists of writing my diary, short stories and poetry – and creating performance plays based on the written material.
In my writing, I question ‘nomadism’ and what it means to be a modern-day nomad. I explore identity through the idea of borrowing cultures. One way I do this is by using traditional, scented pigments/minerals as communication tools to connect with my own life and others.
I perform spoken-word poetry and am currently working on developing a poetry collection for publication.
Inspiration
‘My Sleeping Queen’
(my grandmother Khadijah)
In the early stages of my practice, I worked with the memories of my grandmother Khadijah who I visited in the summer of 2012. I have made photographs of my grandmother when she was asleep on a chair – during the day. The space that we both shared had a silent atmosphere and the photographs showed a relieved expression on her face. I found this powerful and fitting to her character and in the narrative of my work. This made me feel emotionally obsessed and relaxed whilst constantly drawing her throughout my sketchbook. The drawings later became a passage of remembrance.
I learnt a lot from my grandmother during my stay in Somalia. My grandmother told me about the importance of her traditional clothing and how it signifies the sunrise of Somalia. The simplicity of the nomadic way of living impacted on her character, and the modernising transition from her moving to the city is key to my work. I was influenced by her poetry, folk tales and personal stories – in which she told me about her life. These were vital ingredients for me to build my work.
My Sleeping Queen, (2012)
‘Uunsi Drawing’
I have developed a new type of drawing – ‘uunsi drawing’ which consists of ‘earthy materials’ a common practise which is used by Somalis worldwide in cultural domestic settings – the drawing aspect of using ‘earthy materials’ questions ‘cultural authority’ , ‘ownership’ and ‘normality’ in culture.
‘Uunsi’ in Somali translates the burning of frankincense and the fusion of mixing hot charcoal with frankincense + other scented minerals such as: Oud and Bakhour.
Henna: the human skin/texture
Incense: distorted landscape + space I have carefully studied the concept of each of the ‘earthy materials’ – and I have explored ways to depict smell, touch, sound and visual.
In short, ‘uunsi drawing’ is of ritualistic value, cultural expression, spiritual meditative practice -and a celebrative-navigational medium to communicate with people within space.
The process of action drawing explores the performative side of sleepwalking which ties in me becoming the ‘urban nomad’
Untiled, (2013)
Becoming the ‘urban nomad’
I am not focused on finding my roots. ( not searching for Somalia as the physical belonging of the land rather the mental idea of it) Moreover, I don’t have to be on the land to connect with my heritage, culture or tradition. I am breaking the barrier- not fully understanding my culture but showing signs of neglecting, displacement and hope for the old forgotten culture (it is through my performance that I relive celebratory moments.)
Longing or belonging?
‘challenging normality’ and the moral ethics of how one culture is supposed to be viewed/practised. ( if you don’t fully understand the language of the land it takes away your cultural identity and membership. ( how can we then create our own path of understanding towards this odd culture? Possibly, by developing a new language of storytelling – how do I feel about my heritage, culture and tradition. (this can also relate to the wider perspectives of the new generation of Somalis living in the diaspora : ‘diasporic-relation’)
Furthermore, I see the Somali cultural artefacts as moving sculptures. Moving people, the artefacts have memorial + ceremonial value – I call them ‘survival packages’ I am interested in the change of narratives and the common domestic use of the artefacts. By changing narratives, I build a new language – this gives more value to the artefacts and explores the relationship between me and the objects. ”These are essential vessels of life” just like the materialistic world we live in, these objects become of daily remembrance. I am almost obsessed with them. I read to them, speak to them and remember them.
In fact, I am challenging ‘cultural authority’ and the moral ethics of culture, particularly in the Somali culture. Taking household practise such as incense burning into making art.
The artefacts remind me of the connection of people, personal relationship, spirituality, ancient practise and the belongings of my ancestors.
I’m focused on finding me, fixing broken pieces of my identity (parts of culture, language and lifestyle)
I’m interested in creating a new world (post- apocalypse time) I see this in my dreams – and while I drift off, sleepwalking. ( I become this person of the future, the legendary nomadic hero I seek.)
Everywhere can be called home, but for me home is where I feel happy in my mind and in memory. (erasing/taking away the nomadic belonging to the land, however elements taken from the land + culture that can suggest belonging and thus important to me because that is all I have for now – a document, a memory and a dead space of time. Through sleepwalking (spiritual reconnection) and performing with incense burning and henna drawing I get to come closer to this world and almost become this heroic nomadic character.
Closure
• restriction +resistance + to rebel : breaking boundaries of space + law ( bound by natural law of existence : study has elements of science and philosophy)
• sense of belonging – everywhere can be called home but the mind most attentive to the soul.
• time traveler, time travelling avatar (through sleepwalking performance + ‘uunsi drawing’ + and becoming the ‘urban nomad’
• the legendary heroic nomad (mythical figure) of Somalia and by re-imagining moments through meditative sleepwalking process, in this state of mind – I am transforming into the modern-day nomad – becoming art of my own. (the nomadic being)
Nomadic Pop is the foundation and influence; Digital Fusion is the sequence development that satisfies the outcome of the work. Both combined become one. Nomadic Pop is first produced through watercolour drawings that are then developed further in the second stage of Digital Fusion. I use picture-editing applications from my IPhone 5 to digitally manipulate images. I am interested in notions of ownership, the role of technology, consumer authority and what role the individual plays in voicing their own narratives. Nomadic Pop begins to look at “Nomadism”, which can be described as a search for an authentic Somali-ness. (to see more, follow my previous post – Manifesto – Digital Fusion & Nomadic Pop)
To further understand this,
Nomadic Pop : Internal outlook on the concept – nomadic state of mind, ‘hido iyo dhaqan’ (heritage and culture of Somalis) and traditional element of fine art: drawing and painting.
Digital Fusion : External outlook on the concept – the element of fusion, ‘digital-force’ and bringing worlds together.
To start, I would like to share and explore concept of Digital Fusion & Nomadic Pop, by adding relatable terms and keywords that drive this project. This is shown below, were I break the words into ‘sub-terms’ and give a thorough explanation. After this, I will give an insight how I have developed the artwork in stages. (and also how this is guided by the concept of Digital Fusion & Nomadic Pop)
Key words to note
• Transition + transformation of Somali people. (now and then, from Somalia to the diaspora)
• Adaptable progression, particlarly looking at renowned Somali models, how they have blended in their new environments, spaces inside the diaspora, but still kept in touch with their heritage and culture – even if some of them don’t, I imagine them to be.
• Some aspects/points of the text might relate to the concept of Afro-Futurism.
• Storytelling and myths, to create mythical characters (or to recreate Somali mythology) – and to further look into the unique qualities of these mythical characters that shape this new world.
Sub-terms
Nomadic Pop is the foundation and the start of Digital Fusion.
Digital Fusion is the ‘predecessor’ and the ‘final outcome’ of the whole concept.
Digital: is ‘consumer authority’ and the ‘final outcome’ of my imaginative world, my dream. The power to google images freely and access the internet (digital universe) with ease. I can manipulate, destroy, create, break, control, repair, construct and deconstruct – this is relevant in the physical and mental state of the nomad.
Fusion: is to fuse, to blend, to merge the new with the old. Bring past and new generations together. It is forgotten culture for the young, it is patience for all, trying to reconnect to a place we can call ‘home’ (my dream). Where is this home? The dream of this project is to bring people together, to challenge, find comfort, ease and understanding.
Nomadic: is quite similar to ‘Fusion‘ but ‘Nomadic’ references the older generation and the global understanding of the nomadic character. One that has no place to call home, ‘placeless’ but walks from place to place, as a symbol of long term progression/process to find home in oneself.
I am redefining this through my personal experience (as a modern-day nomad) but also through my practise.
Pop: is the founding father of ‘Digital’ it is bright, colourful and glamorous. It is happiness, pink bubbles, ‘rich in space’ and celebration.
It is Warhol inspired, but not yet focussing on the material gadgets and must-haves but this project is giving more value to the figures/characters that shape this new world.
The project also looks at the golden era of Somalia (this could be from medieval Somalia to the current reconstruction of Somalia) , however I am particularly intersted in the post-colonial era of Mogadishu – also looking at Somali currency, vintage photography and post cards. (and again, how this links with the idea of borrowing cultures, entering new/odd spaces, diaspora and the western influence that has shaped the landscape of Somalia. Moreover, my dream envisions hope, I look back and listen to my parents and grandparents, how they had experienced ‘good times’ and shared romance and freedom – and how this dream can be lived again. (by generations to come)
The concept of this project also looks at modernisation and educating the new generation – that we as Somalis once lived free in prestige lifestyles and we danced wearing traditional attires – together in unity.(without any extreme religious/ideologic intervention)
Finally, it is all about celebrating forgotten times that we have left deep in our closets, buried deep in our cupboards that house us in the diaspora.
Digital Fusion & Nomadic Pop is celebrating times when men, women and children would stage to take pictures in front of imaginative ‘praised spaces’ and backgrounds. Was this something we couldn’t reach? Something we had in our lands but not cherished? (like our captivating nature: palm trees and sandy beaches) or was this something we imagined ourselves to be in?(in times of war, corruption and western imperialism) A dream?
They were more than selfies, these photographs were carefully set to document times of Somalia (times of peace) but also to share great moments with family/friends and distant relatives from the diaspora.
(Pop art)
Just as Warhol was inspired by his environment and the lifestyle of consumerism, that which is now called Pop art. I am simarlarly interested in my environment and how we are changing as people, moving from place to place (focussing on the transition of borrowing different cultures) and adapting to new and odd spaces.
(Nomadism)
This is my journey of finding myself through this project, even though I’m not trying to find my roots in some way but feel enclosed between two distant cultures and feel more leaning towards my the land that I live in currently but I dream to reconnect to the land that ‘let’s my soul speak’ – in the process of ‘finding my place’ I would want to learn from the people that still have significant hold within the Somali culture, community and history.
For me “Nomadism” has unshackled itself from its traditional territorial borders by flowing within the current sphere of globalisation and through the diaspora. With the diaspora it has maintained its character by morphing into a ‘trans-border’ entity. This is in part why it has survived well into the 21st century. By combining the old and the new it has mutated into its current shape and this is reflected in my work, my dream.
So moreover, my dream ventures to capture this new world of togetherness and celebration. The concept of “Nomadism” transforms the narratives of Digital Fusion & Nomadic Pop through personal levels and relating with Somalis alike.
There are different definitions in defining “Nomadism” – I try to capture my definition through visual stories and imaginative figures that I create. I see them as folk tales and characters with individual personalities. So in fact, I am taking different aspects of my time and the times of my ancestors, by then creating a world where all generations can coexist.
‘The Crooked Swan, Jasmin Warsame’ (2014)
‘The Green Qalanjo, Ayan Elmi’ (2014)
‘Vogue Miya?’ (2014)
‘She Lived Before Cleopatra, Iman’ (2014)
‘Diva Dahab’ (2014)
‘Dr Hawa Abdi’ (2014)
‘Dabaab’ (2014)
‘Cushitic’ (2014)
‘Our Child’ (2014)
‘Tales of The Sleepless Nomad, Classic in No-Man’s Land’ (2014)
‘Geeraar for The Forgotten Youth of The Diaspora’ (2014)
mixed media + acrylic paint on Somali traditional fabrics, 2012
My Sleeping Queen
Khadijah
Follow my deepest thoughts
Follow my journey back to the rivers of my precious, blessings
Back to the rich essence of truth
My lovely heart
I call
Heal my scars
Pure soul
You
My queen, so blessed, I see you, sleeping inside the silent darkness I honour you regardless!
Wake me up with your summer-time-wishes
I miss your love
My heart is drowning in a thick mist, way up to the sky
Peace is promised in my fist
I keep it consisted
I’m twisted by different cultures, evicted by mine own shadow
– Rainbow twisters!
The west calls for my soul to gain riches
While I call for my culture, it is within you but I feel that no one listens!
Is it dying?
Where I’m I going?
Heal my blisters
My grandmother
My queen
Khadijah, Africa is you, you are more than my Africa
The mother of my mother
The guardian of my hido iyo dhaqan (heritage and culture)
Dusty sandals of my sunshine
I paint my pain in a dark basement
Bright colour lights for every word I say
Let the pain age in time
Let the pain age in time
For experience is beauty, wrinkled in my grandmothers face
I pray for your dedication
Admire all your strength
Your history is in the name of my future
You’re welcome
I always keep a smile on my side, safely by you
My queen, I see you sleeping
You’re dreaming about my ambitions
Look at the way I drawn you in my pictures
I wish you could see
You far away, on the other side of the world
Please tap on my back if you hear me
I hear you
My culture is on hold, slowly fading, sleeping right beside you
Forgotten is more than a loss, forgiveness is a must!
My queen I wish you could see, I am way up – I feel so alive with your trust, protected by love
I wish you could see
Help me!
When I can’t save myself
I am falling, holding on the edge – scratching on the skin of my bed
Oh, how I miss your truthful words
Never ending nomadic traditions, folk stories and mythical visions You kept it sacred
You kept it sacred
My heart is favoured by these thoughts
Little bubbles fill up my memories
My past, born as a traveller
The sweet scent of decaying trees, keep it strong, this will lead us to peace
Please believe my tears, you forever true!
I thank you greatly!
I remember when you used to look after me
From a baby to a crawling monkey, running through the sand
You held my hand and you hugged me
And sometimes in your right hand you would keep your spiritual beads
Preciously perfect
Patience plunders her pearls in a cold evening
Struggle and she breathes…
Struggle with some ease…
Struggle with some ease…
So let the scent of our culture rise
And let the pain age in time
Let the pain age in time
And let pain age in time
For experience is beauty, wrinkled in my grandmothers face
This is my letter to you, before you leave this earth
Sleep and rest on your throne
For you reached a humble age
My queen
My queen
I promise you I believe
Sweet dreams…
You are someone.
Only wounded, yet you are guided.
Vulnerable to the hands you love.
To hands that love you.
Touch, it bleeds.
To the spirit that speaks close in you
Protected – in whole
You are someone
Curious before you born courageous
Sense your space, you wonder
You are someone
One that lurks in madness above thy hills
Looking for endless love
The wind blows tender, each time
You are driven
Driven to find someone
For gold you bleed, tremendously
Just to find someone
Someone in peace
Someone in me
I wake up human
Meditating in the wind
Thunder glazed thoughts
Sunday son’s
My nights speak tongues
Cold fever, the strength is within me, me?
Limitations
Limitations
Time is just time
Don’t limit my patience
Please don’t limit my patience
Lend me an ear, a song, a drum
Some sort of conviction
Tender longs
Elevated
The sweet scent of autumn leaves
Please don’t leave me in the winter
Cold, my summer waits for sincere wishes
Kisses for the worldly kind
Some say
Some hate
Some seek to wait
My silence, breathes the brotherly one
Shadow shaking
Elevating the unfortunate to higher placements
Within the body
The ribs speak honesty
My mother
My mother
Innocence is human
She walks not yet another one
Miraculous patience
Set my mind for seconds to believe
Swim!
Can you take this pain away?
It is life for me
For you it is unknown
Words that carry meaning
Can you carry her to sleep?
Courage
Courageous hugs and scruffy beards
The sun is smiling
Shining on Somalia
She makes me smile, smile, smile
I cry after
With laughter
More happiness beyond my earlobes
Suspend to limit
Sensitive soldiers rolling out to never-land
No boarders, no more, to welcome
To limit
To break
To take
To give and to honour
Severe balance
Invisible time
Practise you
You are practised by nay-sayers
Can you be you?
Can you be you?
In time
Precious, precious
Pressure, pressure
The brightest colours are wide awake
Where did you go?
When the night needed your hug
And I said, breathe my child
There’s some gold over for you to forgive
But yet you do not want to forgive
Where do we live?
Laugh and hate
We are just human
Just mud
Sounds of time
Limit time
Why..
Why..
Why oh why
My words are born
Born in a chaotic brain
Explosive thoughts, written on a silent night
Calm my mind, catch every second, express every emotion through words that scratch more than just the surface
Still dreaming of what the earth will bring forth
In tsunami storms we swim
think
My words will need some oxygen, to survive because every form of hate we consume is poison!
So let the heart bleed seven wishes
Roll your boat, roll your boat
For more hope will bring you gently down the street
Life is just a dream, a test to be
So treasure the beauty of simplicity!
And let your mind rest in this comfortable oasis, private -spacious, abundantly amazing terrarium
You call “home”
My words are born..
Born far away from home
But as soon we put the first leg out in reality, we are prepared to be consumed by the flames of the universe
The songs of welcoming birds, parading school kids and cries of sleepless drunks meditating in the morning day light
Every word has a story
Every story has a word
The earth becomes an open platform of expression, you can’t hide!
Every blind word will expose your deepest thoughts
So smell the vibrating air!
You are soon to be followed by our words
Because words are not just words
Words are like shadows
A character of home
Nomadic Pop is the foundation and influence; Digital Fusion is the sequence development that satisfies the outcome of the work. Both combined become one. Nomadic Pop is first produced through watercolor drawings that are then developed further in the second stage of Digital Fusion. I use picture-editing applications from my IPhone 5 to digitally manipulate images. I am interested in notions of ownership, the role of technology, consumer authority and what role the individual plays in voicing their own narratives. Nomadic Pop begins to look at “Nomadism”, which can be described as a search for an authentic Somali-ness. This when coupled with Pop Art can be used as a critique of the way we consume information. I am interested in the portrayal of the Somali body. Images of Somali models in the diaspora – sourced from the Internet – are spliced and collaged with artifacts and other images to generate new meanings. This highlights the myriad of manifestations that Somali-ness can occupy as it navigates realities like social status, tradition, modernity and cultural exchange. “Hidiyo Dhagan” > the heritage and culture within Somali Art, plays a fundamental part in identifying connection points. These are folklore, Somali proverbs, traditional music and personal stories passed down orally from one generation to the next. I’m highly inspired by Warhol’s work. Particularly significant to me is his use of vibrant colours for singular effect. My work has a similar notion of using Pop art as a medium to give presence and value to each character of the work, this is an attempt to demarcate space for both imagining and creating new mythology. The fusion element of the work brings the imaginary and the realistic together; it can look displaced and surreal sometimes. However, it creates a unique personality that has its own story to tell. Each piece has a poetic title and narrative reflection within the work, searching for a “common placement” where the multiple worlds are allowed to collide. This is what drives my work.
Nomadic Pop is the foundation and source influence of Digital fusion but both compared are different because this particular project allows me not to use any digital tools to develop my work however both projects are still the same but have different outcomes (in medium) visually.
Nomadic Pop begins to look at renowned Somali models, images of traditional and modern day Somalis in social status and cultural change both combine major aspects of the exploration of my work.
“Hidiyo Dhagan” > the heritage and culture within Somali art, plays a fundamental part in identifying connection points, these are; folklore, traditional music and personal stories of Somalis.
With this foundation in hand I start to understand my identity from both sides of the plate.
The test video project is based on formulating ingredients of the Nomadic Pop project. Creating ideas based on experimentation and development of the work, the process of each piece becomes like an ”personal attachment.” each piece of work has a characterised look, illustrative personality and its own unique story to tell.
Each piece consists of the following:
Watercolour drawing of figure/portrait (identity/gender)
Kind of music (natural background, surrounding space & unique story)
fabric collage (cultural touch)
title (unique mark, untitled piece is paused to think)
I produced each video with the help of my IPhone 5, I think that I was not focused on how I recorded each piece, but mainly focused on covering 2D and 3D elements of the work. I do find that the videos have performative and playful qualities to them. In general, I was more aimed at setting up each piece of the work, looking for suitable background music and finally commenting back on the work on what I could change.
I think this project not only gave me great ideas on what to next but also allowed me to deeper myself into each piece of work.
Developmental ideas to consider next:
photography installation
video installation (picture slides or shooting it more clearer with a professional camera)
ahmedmagare 