Blog #7 Meet the artist: Enas Satir
A conversation with the ceramic artist
Hi everyone. I just realized there’s a children’s book titled 'Meet the Artist.' I’m not really in a place to deal with legal issues right now, so let's save that conversation for another time.
Before we get into this week's blog, I want to take a moment to reflect on the ongoing war in Sudan and its devastating impact, particularly on women. The conflict is continuing to lead to more widespread violence and suffering, with reports highlighting alarming levels of sexual violence against women and girls. These are not just statistics; they represent real lives and stories of life-threatening challenges. For more details, I encourage you to read the UN Fact-Finding Mission's recent report documenting these atrocities. Also, please check out my previous post and the next post on @rakoubah’s Instagram, Facebook and X accounts for ways we can take action to protect Sudanese people, particularly women, affected by the war.
In this edition of the blog, we have an exclusive interview with Sudanese Canadian artist Enas Satir. Her work includes ceramics, illustrations, video making, storytelling and photography. I first saw her sketches three or four years ago at an exhibition in Chinatown, Toronto. Recently, one of her ceramic pieces was acquired by the Canadian Museum of History in Ottawa.
For this interview, we began our conversation on Zoom and continued it online to discuss her achievements and artistic journey.
1. Can you tell us about the inspiration behind "قبضوني وجلدوني وهرشوني و أنا تبتا" vase?
The vase "قبضوني وجلدوني وهرشوني و أنا تبتا" is part of my Aghani Banat series, which I started in 2020. This series celebrates traditional Sudanese female singers who accompany their songs with the daloka, a drum commonly played by women at weddings and celebrations.
The songs often praise the groom and bride while offering insights into Sudanese culture—such as generosity, respect for elders, and family support. They also feature playful resistance to conservative norms, often addressing or touching on issues like arranged marriages and gender-based oppression.
The title of the vase resonates with a line from a song that speaks to the struggles faced by women in Sudan, translating to “They captured me, flogged me, and I repented.” Despite the shocking nature of the lyrics, the singers deliver them in a strong, nonchalant tone, using the rhythm of the daloka to evade censorship. The joyful tone of the singers also inspire strength.
This work is a commentary on the experiences of women under the Sudan Public Order Law, which allowed police to prosecute individuals, or women in particular, for perceived indecency. This law has historically targeted women, creating an atmosphere of fear and oppression.
2. How did the agreement with the Canadian Museum of History come about?
The agreement with the Canadian Museum of History emerged after my participation in the Cabbagetown Show in Toronto in 2023. While I was painting on one of my larger vases, a museum representative visited my booth and expressed interest in my work. We discussed the Aghani Banat series and the meanings behind the lyrics on the vase, which ultimately led to the museum acquiring the vase for its permanent collection.
3. What is the concept behind the "A State of Chaos" installation?
"A State of Chaos" is a series of installations I began in response to the ongoing war in Sudan. This project reflects the current turmoil and the psychological and physical states of the Sudanese people amidst the conflict.
Khartoum is facing severe instability, with countless casualties and widespread displacement. This chaos follows the 2019 ousting of dictator Omar Elbashir, which led to a transitional government aimed at establishing democracy. However, conflicts among military leaders ultimately resulted in the current armed struggle that has turned Khartoum into a war zone.
In this installation, my ceramics serve as symbols of the Sudanese people, representing their struggles and resilience in these challenging times.
4. In what ways do you feel your artwork reflects the war in Sudan?
My artwork, particularly through the "A State of Chaos" installation, directly reflects the impact of the war in Sudan. It captures the emotional landscape and the experiences of Sudanese people during this time of upheaval. Each piece in this installation symbolizes the struggles faced by individuals and communities, creating a dialogue about resilience, identity, and hope amidst chaos.
That’s it for this week’s article. Just a reminder: we should all collectively reach out to government representatives and those staying informed about the situation in Sudan. You can read more about the conflict in the article titled “The Massalit Will Not Come Home,” which discusses ethnic cleansing and crimes against humanity. Also, here’s a recent piece discussing the ongoing genocides: “UN and African Union Should Take Bold Action to Protect Sudanese Civilians.”
Enas Satir is a Sudanese multidisciplinary artist, living in Toronto. Her work includes ceramics, illustrations, video making, storytelling and photography. In 2017, Enas migrated to Canada from her home country, Sudan.
Instagram : @enas.satir