Much of this is about politics, protest, repression and the challenges of life especially for women, as well as abstraction and the human figure. It also includes a particularly wide-ranging section on faith also discussed in the catalogue (Venetia Porter with Natasha Morris and Charles Tripp)
The inspiration for this drawing, by Sudanese artist Ibrahim El-Salahi (born in Omdurman, Sudan 1930), came from seeing his father, a devout Sufi, who, while praying, would point his index finger outwards, creating a shape resembling the beak of a bird. Part of a series created by El-Salahi in 1969, the title alludes to the verse in the Qur’an: ‘Do they not look at the birds, held poised in the midst of [the air and] the sky? Nothing holds them up but [the power of] God. Verily in this are signs for those who believe’ (Surat al-Naml verse 79).
Avoiding the old umbrella term of Islamic Art this exhibition puts faith in context also of migration and identity: