Faraj

MODERN ART IN IRAQ: LEADING FIGURES AND INTERNATIONAL PERSONALITIES

Photo: Djila Art Gallery in Baghdad.

Faraj's works have bridged east and west, having featured in exhibitions in the Middle East, Europe and USA. Her solo exhibitions include Once Upon a Culture at SOAS, London (1995) and Vibrations from my Past, Oakshire Gallery, Texas (1993). Selected group exhibitions include Eastern & Icelandic Art at the Merton Arts Festival, London (1996) and Arabian Eyes at the Ministry of Culture & Information, Sharjah, UAE (1995). Maysaloun Faraj has contributed to more than 40 group exhibitions, won numerous awards, and has held 14 one-woman shows. Her artworks can be seen in the British Museum, and the National Museum for Women in the Arts in Washington.” She moved to London in 1982 where she lives with her husband and three children. It was during these traumatic years of the Gulf War, when indeed many Iraqis were forced to abandon their homeland, that Faraj first had the idea for Strokes of Genius. She was horrified by images of suffering not only of innocent children and civilians, but that of callow youths in the army. Anxious to offer help immediately, Faraj put her artistic background to practical use by initiating fundraising ventures to help the children of Iraq. The dispersal of the great number of Iraqi artists and artisans was the basis for an international survey, which Faraj researched. Baghdad, part of ancient Mesopotamia, has always been known as the 'cradle of civilisation,' she explains.

Photo: Painting by Karim Risan, Size: 50 X 50 cm, Material: Wood, 2003

'There is something about the Iraqi temperament which is intrinsically sensitive to creativity An artist herself, Faraj described how she started a ceramics course with Hammersmith and Fulham ILEA and the surprisingly enthusiastic responses she received about her work. To her, such personal creativity was unexceptional, moreover typical of the Iraqi aesthetic.” Equally, Faraj is an artist in her own right. Her studio is strewn with prints and ceramics where the colour turquoise dominates. She describes turquoise, as a spiritual colour signifying hope and the symbolic eye, which features in her paintings, is comparable to a talisman warding off the evil spirit. Asked whether there were any clearly delineated trends in Iraqi art, Faraj described the plight of individual artists as the deciding factor, very much a personal response, usually depicting the homeland. In an interview she gave to a leading Arab newspaper, Faraj said: “Although I was born and brought up in the USA, where both my parents were studying and working, my growing-up years were essentially in Iraq. We returned to Iraq in 1968. There, I graduated from Baghdad High School in 1973, achieved a BSc Architecture from the College of Architectural Engineering, University of Baghdad in 1978 and went on to pursue a career in the arts thereafter.
In 1982, I came to live in the United Kingdom with my husband. London has since become my adopted home and it is here that I have been able to develop my artistic vocation, both in painting and ceramics. Consequently, I have been taking part in numerous art exhibitions, locally and internationally and have maintained contact with many of the artists I have met over the years.

Photo: Painting by Fakhir Mohammed, Size: 90 X 90 cm, oil on canvas, 2001.

The ambition of bringing the, in my view, largely unrecognised artistic achievements of my peers to a broader western audience has always run alongside the pursuit of my own personal accomplishments. Having worked both in Iraq and abroad, my increasingly extensive contacts with fellow. artists around the world not only helped continually to inspire my own work, but more importantly manifested in the research that was the basis for the complex undertaking that was eventually to become Strokes of Genius.” Responding to a question asked by an Iraqi reporter: ”In March 95 you began an immense task of bringing together 34 artists from around the world. Have you been successful and what were the difficulties you faced? “, Faraj responded: “Our task was not to bring together 34 artists together, but rather to bring together ALL of Iraq’s scattered 'talents in the wind' and celebrate this unique creative spirit with a world audience. The Strokes of Genius exhibition (consisting of 60 artworks by 34 artists from around the world/chosen by a selection committee/ currently touring the UK to travel to the USA in 2002) launched in London, October 16 2000 was but one aspect of this multi-faceted project. Whilst originally only a book about Iraqi art/artists was envisaged, the project soon grew to encompass a groundbreaking touring exhibition, educational programmes and the Strokes of Genius website. As we aim to carry our activities well into the 21st century, we are also in the process of registering to become the ‘International Network for Contemporary Iraqi Art’ (INCIA), a charity established for art purposes and specifically for promoting contemporary Iraqi art internationally. As you can imagine, such an historical undertaking is no easy task and grave difficulties continue to be faced, in particular, lack of funding which is essential to our sustenance and success. However, we were able to overcome this through tremendous 'In-Kind-Support' provided by a committed and wonderful team of volunteer professionals.