Ibrahim's solo exhibition "For Life is Not Eternal" recently opened at Schiff's SFA Advisory in New York.
In his current solo exhibition “For Life is Not Eternal” at New York’s SFA Advisory, London-based artist Soimadou Ibrahim elevates the household plant to a new heightened position. His paintings have more typically figured on imagery of his family members painted from memory or photographs, but while in quarantine, Ibrahim found himself drawn to domesticated flora, both as quietly living beings and as a metaphor for these very family and friends.
In these images, Ibrahim imbues his plants with the same dignity and attention as he does his figures. The Musa species—more commonly known as banana trees—plays a particularly central role. The species, which originated in Asia, was carried across to the artist’s native Comoros in waves of immigration of Bantu, Austronesians, Arabs, Somalis, and Indian peoples to the region. Much as the culture of Comoros changed with the introductions of these peoples, so did the Musa species undergo new mutations. For Ibrahim, the species has become indicative of diaspora and his own move from Comoros, then to France and the U.K.
Can you tell me about how the flora you have chosen to depict relates to your Comorian heritage?
SI: Most of the plants I paint are banana trees, or “Musa.” Musa is a very important part of Comoros culture; the bananas are a food source and the leaves can be used to make baskets, rugs, and other objects that can be sold at the market. The plant is also very abundant and does not discriminate—you can be rich or poor, but you’ll most likely have banana trees all over your garden. I’m just trying to pay homage to a plant that plays a significant role on such a small island.
Lisa, why do you think this work is important? Why did you decide to organize this exhibition?
LS: I am having a nature situation thing as of late. As a city girl, nature is almost like something I would see at a zoo; I prefer it through the car window, slightly reified I guess. I am not proud of this, but am honest. Still, I am dedicated to bringing more nature to the zoo of the city. I was taken by Soimadou’s plants because I am surrounding myself with my own nostalgic world—like Soimadou. And I loved that most people gravitate towards his paintings with human figures whereas I found the fringes of lonely plants to be more interesting to me personally. While this is a personal description, I do think there is a general craving for nature the further we drift from it.
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