Courtesy of Suzy Sikorski
First Annual Emirates Fine Art Society Exhibition, 1981. Photo Courtesy of the EFAS.
SS: Where did you begin the Emirates Fine Art Society?
Ahmed Al Ansari, The Beggar. 1979, Pastel on canvas. Photo courtesy of The National Pavilion, UAE.
UAE Pavilion, Venice Biennial, 2015. Photo Courtesy of the National Pavilion UAE.
MY: We started EFAS from a small library in the Sharjah National Theatre. There is a painting from Ahmed Al Ansari (The Beggar), (see below) which really depicts the struggles that we had at the time. We were literally begging to open the society by carrying the painting with us in the hopes to receive a donation. Some gave us a sofa and chairs, others, such as H.H. Sheikh Dr. Sultan bin Mohammed Al Qasimi, Supreme Council Member and Ruler of Sharjah gave us a television. We eventually gathered the 15 required signatures to create the society; the majority were artists, but we even had some journalists and news reporters. His Highness eventually bought The Beggar, and provided us the costs for the building, and even provided the Society a monthly salary too.
MY: The Society then opened spaces in Abu Dhabi, Ras Al Khaimah (RAK) and Khorfakkan. The Abu Dhabi and Khorfakkan branches eventually disbanded, while artist Obaid Suroor continues to teach workshops at the RAK branch. Unfortunately, once I returned back to the US after finishing my Master of Fine Arts at Webster University in Missouri (2000), much of the EFAS was gone.
SS: You grew up in Kuwait until high school, do you attribute your early art practice to Kuwait?
Newspaper clipping, Dr. Mohamed Yousif with HH Sheikh Dr. Sultan bin Mohammed Al Qasimi at the opening of the 2nd Annual EFA Exhibition, 1982, held at Sharjah Expo. Image courtesy of Emirates Fine Art Society.
MY: Yes, at that time, Kuwait’s government encouraged diverse art training in theatre, painting and sculpture. They even gave artists mini studios. I was a boy scout in Kuwait and we were participating in many theatre programs there too.
SS: When you received your Bachelors in Cairo, were you studying with other Emirati artists? What were some of the artists coming out of that school?
MY: Yes, I studied with other artists, but I was one of the first to attend the College of Fine Arts in Cairo. Some of our classmates went to Cairo to become architects, painters, graphic designers in etching or printing, or interior designers. After myself came artists like Dr. Najat Makki, Abdul Rahim Salim, Mona al-Khaja and Obaid Suroor.
SS: Are you only an artist?
MY: No, I am also a singer, sculptor, actor and director. I have carried many different roles. Now my life mainly revolves around art, as I experiment with sculpture and installation.
SS: Do you think it’s important for artists to have a role model?
MY: Yes, all artists should. But for me I didn’t exactly have one single mentor. When I was going to Cairo, I taught myself through basic materials such as clay, plaster, wax, wood, limestone, black stone and soapstone. However, Cairo didn’t not inspire me to experiment as much as I wanted to. We mainly worked with Egyptian Clay and were trained in relief.
Dr. Mohamed Yousif, Motallaqa (Divorced). 1984. Wood. 123 x 6 x 15 cm. Image courtesy of Sharjah Art Foundation and the artist.
When I studied in the US, I studied under strict teachers that forced me to add a more personal touch to my work. I remember my teachers would tell me, “We know about your home, about oil, and Islam, but dig deeper. What about yourself, your mind?” Here I began to develop Western art influences, such as David Nash and Eva Hesse for their connection with nature. In terms of sculpture, I was also influenced by Henry Moore and Andy Goldsworthy.
SS: Can you explain more about your artwork?
MY: I am trying to understand my art through human connection to nature. In India I completed my doctoral thesis on comparing Buddhism and Islam, bearing attention to the connections between Buddhist monks and imams, the leader of the prayers in a mosque. This research drew me closer to my UAE environment. I noticed Muslims were imaginative and observant, working in the sea, and continuously finding greater connection to the earth and with each other through the landscape, stars and sun.
Dr. Mohamed Yousif, Image courtesy of the artist.
SS: Nature is very evident in your work..
MY: All of my works derive from nature. When I collect different elements from example, a tree, whether wood or leaves, I am attuned to the age differences between the trees. Just as humans exist in generations, the plants do too, and my work attests to this synergy in life cycles. For this reason, I want the weather to interact with my artwork. I prefer my artworks should be seen in nature, and not imprisoned in galleries.
SS: Most of your works have little peg legs, why?
MY: In Buddhist sculpture, those with three or four pegs are considered alive, and most of my sculptures have this. All my works have movement, whether it have flowing accessories or curved bases; nothing should be straight, which signifies death. Even the standing trees, with sturdy bases have an arched curve to them.
SS: Was the local audience able to understand your work?
Unfortunately, many didn’t. I used to exhibit in the ‘80s and hear people say—“Mohammed this is ‘haram,’ because it is sculpture. Many times I exhibited my sculpture, some locals actually broke it. Whether in the past or present, I am still struggling with my audience. Art should be close to the people, and easily understood by the majority if they respect the work itself.
MY: Do you have exhibitions now?
I stopped for a while, but Sheikha Hoor Al Qasimi connected me back to my art. She took me and other pioneers to Venice two years ago. I really respect her for that.
As for having exhibitions, I would like to work with my wooden sculptures together with my old artist friends. I am alone now though, after Mohamed Bulhiah, may God have mercy on his soul, just passed away; Dr. Najat and Abdul Rahim Salem escaped from sculpture and now are painters. How can I work alone!
SS: What UAE artists do you admire?
Abdul Rahim Salem, Hassan Sharif, Husain Sharif, Dr. Najat Makki, Mona al Khaja, Mohammed Kazem, Khalil Abdul Wahid. Karima Shomaley. All of these artists had focused on a concept and researched it throughout.
SS: You are a professor at University of Sharjah, what is your teaching method?
I am supporting my students by teaching them through my experience and showing them my past artworks. I have so many projects with them, but urge them to not copy my work, but instead try to frame their concepts through their own mind. You really have to prep yourself to be an artist, that is what is important for me. Go research, go study, go ask your mom, dad, grandmother, grandfather. Read newspapers and listen to everything.
For my newest project, I am asking the students create something that reflects people of Sharjah; I’m hoping they will interact with the older men and women and create a narrative between their conversations. My last project included found objects from the environment.
SS: I have a feeling you’re a hard grader…
Yes, I’m a very strict grader! I give a hard time for my students. I constantly ask them where is the source of your work? I tell them please don’t give me inspiration from your cell phone, go to the library or even showing something from the television is better.
Dr. Mohamed Yousif and pioneer artist Dr. Najat Makki painting a group mural in Bologna. Image courtesy of the Emirates Fine Art Society.
Dr. Mohamed Yousif, The sea and the desert. 2005. Wood and sand. Image courtesy of the artist.
Dr. Mohamed Yousif, Reflection. 1981. Aluminum, glass and plaster. 100 x 80cm. Image courtesy of the artist.
SS: Do you find it’s harder to teach in the artists during the 80s/90s or now?
MY: Now it’s harder. Because the students have more variety. It might be because of my age, because the younger generation has grown up with the internet and telephone. In that time—we just had the library and our university programs, entirely non-art related. The only way to practice was through teaching yourself and learning from other local artists’ experiences. Now these artists have a different way to approach art; I see them existing in bubbles barricading themselves instead of connecting on an artistic level with others. They are jumping from beginner to a self-proclaimed artist in such short period of time.
SS: I’m sure the same problem occurs in film and theatre too.
MY: Of course! Okay, come one – did some of these artists study video film? No they just bought an expensive camera, and suddenly claim they’re e a video filmmaker?! The same goes for theatre--many are becoming a director, but I have to ask them how many films have you done before becoming one? Where are you studying to be a director? What is your experience? Because to make film, you should be going through film and drama.
SS: Do you think that problem only is happening now? As in you couldn’t have jumped when someone was starting out in the 1990s?
MY: Yes, that is true, there really wasn’t the ability for the artist to jump as quickly as now. At least an artist that studies engineering, so he knows about perspective, colors, the environment, making many things. When he draws, at least he is in tune with color gradations.
SS: If you had to give a word of advice to younger Gulf artists here, what would you tell them?
MY: The UAE needs new names, new faces here in the Gulf.
First: Go research and be patient because art is not instantaneous. Art is layers of information and experience. In your mind, you have to know if you would like to be an artist for your life, not for just 1 or 2 days. You can make 1 piece, and even wait 7 years to make the other, but you have to be focusing on that target concept throughout those years.
Dr. Mohamed Yousif outside the University of Sharjah, UAE. Image courtesy of Suzy Sikorski
Second- You mustn’t JUMP! Today an artist paints an apple; after 2 minutes, now a sport car, or now, a portrait of Suzy, do you get it? You need a concept. Art is art---do something but don’t jump. I constantly hear my students asking me, why is it such a big deal to follow an art system? I took out a ladder and said to my students—go to the fourth step from the first step, and they said he couldn’t. So you see, you have to go to steps 1,2,3,4,5,6,7--- and go back…otherwise you will fail, and fall down. This is how you should approach art.
Third- Don’t stay in your house. You must observe and record everything.
Fourth– Realize the difference between public and private life. Figure out which artworks should be shown; show some for yourself, others for the audience. Find the artwork techniques that take into consideration the public’s attitude, clothes, and color.
Fifth—respect others. And remember where you stand as an artist. When Nasser began photographing, he was studying colors and transparency. Now before you critique Nasser, you have to do what Nasser had did before.