Noted Darfuri painter, Mr. Amir El Tayeb, talks about the different techniques he uses to represent his creative vision and the challenges faced by artists across this conflict-torn region.

By Emadeldin Rijal

As a Darfuri painter, Mr. Amir El Tayeb has made his mark on the art scene across Sudan with his unique use of colours, detailed patterns and traditional symbolism which, he says, combine to express his firm belief in the importance of the cultural heritage of Darfur and as well as the unique role played by fine arts in the life of a nation.

Born in 1963, Mr. El Tayeb grew up in El Fasher, North Darfur, as the son of parents who supported his interest in and appreciation for art. He went on to acquire a formal education in painting from the Fine Arts College at Sudan University of Science and Technology.

In an interview with Voices of Darfur, Mr. El Tayeb talked about the artistic process, the different tools and techniques he uses to imbue his work with the depth of insight demanded by his personal creative vision and the challenges faced by artists across the region. 

Voices of Darfur: Tell us a bit about when your love for art first started to flower. When did you decide to be a painter?

El Tayeb: My father was a mechanical engineer; he would often be reassigned to different places across Sudan and we would accompany him. Travelling in this fashion gave me the chance to witness a variety of cultures. As a child, the more sights you see, the more mental reserves you start to build up. My mother was an artist in her own right and made traditional handicrafts such as food covers and baskets with beadwork; additionally, she also fashioned decorative pieces, tailored clothing and did beautiful embroidery. I would often sit next to her and watch while she created these unique pieces.

Later, while attending school, I began contributing my own paintings and drawings regularly to the literary magazine. My teachers and my parents both encouraged me to pursue my passion for art and, once, I got more involved in it, I realized that painting includes knowledge of many disciplines, be it, physics, medicine, engineering, philosophy, and so forth. I also learned that a number of great scholars in the world were also painters. This motivated me to hone my own skills—I painted the Crying Child, a world work, 20 times before I was satisfied with my reproduction—and even went on to study art.

VoD: Where did you study painting? How did the formal training in art enhance your natural instincts as a painter?

El Tayeb: I studied colouring and painting at the Fine Arts College, Sudan University of Science and Technology, and graduated in 1991. The formal training I received in the College was immensely helpful in opening up my mind to new forms and techniques that I could use to express myself better through my artworks. While studying, I also got the opportunity to attend art exhibitions and buy books related to my subject. I believe exhibitions are a very important aspect of an artist’s training as these are a platform where diverse socially relevant issues, incidents and events, such as poverty, starvation, and so forth, are addressed and depicted in front of a diverse audience.

VoD: Tell us a bit about how your personal artistic style developed.

El Tayeb: When I first graduated from the School of Fine Arts, I completed a new painting almost every day. I also used to darker colours than I do now. As my style evolved, and with age and life experience, I started becoming more experimental in the use of colour and technique in my work. Along with this, I also started taking more time to produce a single piece of art.