Interview: A Waltz for Iraq

by Danah Abdulla
March 17, 2010

I’ve wanted to write a piece about Iraqi-Canadian artist Sundus Abdul Hadi even before I met her, that’s how drawn to her work I was. I knew of her art through her husband, The Narcicyst, a hip-hop artist. And it is through him that I finally met the charming Sundus, and I proceeded to tell her about this yet to be published in my mind piece. Thankfully, she was thrilled, and I opted to do an interview where Sundus gives us a look about her influences, her connection to Iraq and most recent work.

Let’s talk about WARCHESTRA. I won’t ask you what inspired it because looking at the paintings, it’s obvious, but I want to know what elements you’ve taken from Arab-Iraqi-Islamic culture, and have incorporated it into this work?

Coming from an Art History background, I’ve always looked beyond the course textbook for a history of art that speaks to my culture. I’ve been lucky to have inherited my parents library of books on Arab-Iraqi-Islamic art, from books on Islamic manuscript paintings, to Ancient Sumerian art, to Iraqi Modern Art. I would say those three elements have influenced me more than anything I learnt during my years at University. In previous works, I’ve used compositional elements from Al-Wasiti, a 13th century Iraqi artist famous for the Maqamat of al-Hariri (Mesopotamia was Robbed), and until today, I’m constantly referencing Ancient Sumerian mythology and aesthetic (The Battle for Sumer, Inanna in Damascus, The Rise and Fall of Civilization from WARCHESTRA).

Who are some of your influences?
Two modern Iraqi artists that constantly inspire me are Mahood Ahmed and Jawad Salim. Also, I come from a family of artists. My mother, Sawsan alSarraf , is an amazing artist and a huge influence in my life, as is my father, who is an architect. My sister Tamara is a photojournalist, and her images constantly inspire me. I always say that my artwork is a visually linked to my husbands music, The Narcicyst. My cousin Nawaf (A.K.A. Nofy Fannan) was a big influence on my life and art, and was always encouraging me to make art until his untimely passing in 2004.

You said you divided your time between the United Arab Emirates (UAE) and Canada, how do you feel that has shaped your identity? And which place do you feel more at home?
I left the UAE more than 15 years ago to become an immigrant in Canada. Since I was a child, I was always told that the UAE is not my home and that Iraq is my homeland. Growing up in the UAE in the 80’s and 90’s was a beautiful childhood, but those memories are underlaid with the fact that, as Iraqi citizens, we had no right to call it our home. I guess I would say that I’ve divided my time between Canada and the Middle East, because since immigrating, I have tried to make regular trips to Amman, Beirut, and Dubai to visit my ever-nomadic family. My soul lives in the Middle East. As for where I feel at home? Unfortunately, the reality of being an Iraqi immigrant is that there is no place to call home. My home is Baghdad, but I have been deprived of it due to political interference, lack of security, and geographic dislocation. Canada is where I feel safe, and reminded everyday of my privilege.

Ideally, where would you like to see your work displayed?
IRAQ. And anywhere, everywhere.

You’ve recently visited Iraq. Prior to this visit, when was the last? And how did it affect you?
I was in Baghdad in December 2009, after a 5 year hiatus. Every year since 2004, I have told myself that I will go to Baghdad that year. Every year, the situation was deteriorating and the violence accelerating, and I was advised against going. This year, I wasn’t going to take no for an answer and decided to go for a very short and unplanned 6-day visit. I spent 5 beautiful days in Baghdad, and one horrifying day in hell. That day was the day of the quintuple bombings on December 8th. No one should have to experience the terror that is inflicted on an almost daily basis in Iraq, but unfortunately, the Iraqi people have had to endure years of it. Whereas I succumbed to shock, those around me were still standing strong. That is both inspiring and disturbing. My time in Baghdad is sacred to me, and the experiences I have when I’m there stay with me for a long time after. I consider it as “refueling”. I feel fully alive in Iraq, wide-eyed, alert, and extremely inspired by the land. I would say that my last visit has affected me a lot, as I got to spend 2 of my 6 days there at the Iraqi Museum of Modern Art, which is now the Ministry of Culture. As an artist, being in the presence of artworks by Iraq’s pioneers (Ruwaad) was overwhelming. The best part was that I was documenting the remaining works at the Museum since the looting of 2003 and got to photograph over 200 paintings, and given an exclusive tour by Salah Abbas, the editor in chief of Tashkeel Magazine (published at the Museum, about Iraqi contemporary art). To that experience I owe my thanks to Dr. Nada Shabout and the Iraqi Art Archive.

Suddenly, there seems to be an emergence of Middle-Eastern/Muslim art. It’s as if artists have finally developed the courage to come out per say. There’s an increase in magazines, blogs, galleries, films, music, what are your thoughts on this?
There is no emergence of Middle Eastern/Muslim art because we never stopped making art. It is not the artists who have had the courage and come out, but rather, the industry that has finally made space for us. At the same time, its really difficult not to be “neo”-orientalized by a Western art industry who are suddenly fascinated by Arab artists. Moreover, as Arab/Muslim/Middle Eastern artists (the terms are so politicized!), we have to make sure we don’t orientalize ourselves to a Western audience. As Arabs, we are an under-represented people in all industries but the media, where we’re over-exposed.

What’s next for you?
Next up is getting as many eyes and ears to devour the WARCHESTRA series and filling the void of Iraqi art in the art industry in general. Each piece is about a specific aspect of the Iraq war, so I really hope that people can learn something about the war that is often swept aside in the media. Culturally, Iraq is so under-represented and I hope to contribute something to its cultural production during these dark times. Historically speaking, the dark ages are classified as such because no cultural production was preserved for that period of history. I do not want that to happen to Iraq as a result of the US occupation and ongoing war. As an artist, it is my responsibility to depict the current events of my country and get viewers to think on it, not simply consume it.
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More about Sundus can be found here, on WARCHESTRA’S site, and on her blog.
If you’re in Toronto, make sure to stop by the Toronto Free Gallery for the WARCHESTRA solo exhibit opening April 24th at 4pm.

Date: March 17, 2010