The inner turmoil and struggles of women are writ large in the Sudanese artist’s enthralling paintings, created mostly in her home country over the course of seven decades
s haunting, grotesque figures. She also drew inspiration from the Tube, where the warped reflections of women stared back at her from the dark windows of the train carriages. Returning to Sudan in the late 1960s, she began translating suppressed female emotions onto canvas, depicting them as blurred forms. “These physical distortions come from inside—from life, from circumstances,” she has explained. “They are mental or psychological.
a nationalist artistic movement formed in 1960 which was dominated by men. In contrast to the particular kind of modernism and Islamic imagery espoused by the Khartoum School, the Crystalists championed visual diversity and transparency. Ms Ishag channelled her sorrow into “Blues for the Martyrs” , a luminous painting which commemorates those who were massacred. Small faces in limpid bubbles ascend through vines, set against a turquoise background. From tragedy springs hope: Ms Ishag imagines the dead growing into trees.
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