The Intimate Story of Praises Unsung: A Voyage into Sarah-Mecca Abdourahman’s Artistry
Praise Unsung, Ottawa Art School, Courtesy of the artist.
Photo credit: Justin Wonnacott.
“Praises Unsung weaves a narrative of grace, a tribute to the endurance of these women, and an affirmation that embracing rest is an act of profound strength.” (2024, from the exhibit’s essay)
Sarah-Mecca Abdourahman’s summer solo exhibition Praises Unsung is captivating not only for its artistic sensitivity, but also by the way she weaves the threads of her history with the cultural and literary influences that shaped her journey. Her work delves into the nuances of identity, memory and femininity, all rooted in her Indo-Somali heritage and enriched by her surroundings. One year after winning the national prize «Salt Spring Joan McConnel», and following residencies in Germany and New York, her art has travelled to New York, Montreal and now Ottawa, her hometown. Sarah’s deep ties to Ottawa have been central to her artistic evolution. Born and raised in the city, her collages, videos, and paintings have woven themselves into the city's artistic fabric, leaving an indelible mark through exhibitions such as Held Together at the Ottawa Art Gallery in July, Rising Tide at the City Hall gallery in 2023 or the exhibition Inviting the conflict at the Ottawa Art Gallery. In this purely Ottawans atmosphere, tinged with nostalgia, we are invited into the depths of her artistic universe, where themes of sorority, the notion of being “at home”, the literary heritage and the influence of iconic figures such as Warsan Shire and Kerry James Marshall come to life.
(2023) Luscious Cries, Endless Nights |Digital collage on blanket]. Courtesy of the artist. Photo credit: Justin Wonnacott.
No one leaves home unless home chases you (Shire, 2021)
bell hooks once wrote “to bear witness to the primacy of resistance [...]; to the strength and power that emerge from sustained resistance and the profound conviction that these forces can be healing” (hooks, 2006, p.209). In this spirit of resilience and healing, Sarah-Mecca, a multidisciplinary artist, explores vibrant colors, playful compositions and childlike forms to delve into the concept of being “at home” and the memories of second-generation immigrant women’s intersectional experiences. Her works serve as portals to an imaginary world where she recounts and reappropriates her story with joy and humor thereby seeking healing and transformation. Through her family albums, collages and installations, she transports us to intimate moments that awaken nostalgia in each of us, encouraging us to revisit our own memories.
The oppositional gaze: between confrontation and self-liberation
In her works, Sarah-Mecca plays, is free, and transforms reality through her gaze. Her gaze is shaped by lived experiences and conditioned by the expectations and traditions that often dictates our choices, desires and lives, particularly as eldest daughters. Her imaginary and subconscious world materializes through a scenography that evokes the atmosphere of a room full of life. In this space, she delves into her own memories to create moving works that resonate with viewers. Through a refined lens, Sarah-Mecca chooses to use unconventional materials, expressive brush strokes, and playful compositions to confront her own gaze with the gaze of those who have conditioned her.
(2024) With loving eyes | Lace, staples, print on paper, gesso and oil on plastic and fabric]. Courtesy of the artist.
« Praises unsung », Praises to herself, her cousins, her mother, her friends.
Sarah-Mecca’s work is a tribute to who she was, who she is, and who she will become. She honors her cousins, her mother, her friends and herself. Not by celebrating their strength, but by acknowledging their vulnerability.
In her series Haunting vs. healing, Sarah explores the paradox between strength and vulnerability, intergenerational trauma, and acceptance. Her resilience and desire to heal are continually inspired by the journeys of those around her. In choosing to fully live her life while embracing her inner child and the women who inspire her, Sarah-Mecca’s art navigates the space between surviving and truly living. Through family albums, she explores the concept of a room as a refuge by integrating memories from spaces that marked her childhood. Female friendships and mutual support play a crucial role in her art by providing a source of positivity. Her works invite us to relive our own memories by creating an intimate bond between the artist and the viewer.
(2024) The artist’s family album Courtesy of the artist. Photo credit: Justin Wonnacott.
Taking and holding space was natural to me (Diaz, 2016)
Healing and transformation
As eldest daughters, it’s essential to recognize that simple, everyday experiences, like returning home after our studies or living with our parents, are pivotal moments in our collective healing. Sarah-Mecca harnesses these personal experiences in her art, using them to validate her own journey. Her works act as therapeutic expressions, incorporating comforting materials like blankets, that evoke the textile collages of Faith Ringgold who blends the concept of resistance with comfort. Much like the works of the Fauves, Sarah-Mecca’s pieces are imbued with deep emotions. They are mainly characterized by a subtle interplay of figuration and abstraction, drawing on the emblematic techniques of artists like Michael Armitage, and Kerry James Marshall, as well as the poignant explorations of identity and home found in Warsan Shire’s poetry, particularly in Home.
Armitage, M. (2020) Dream and Refuge. [lithograph on paper].
Marshall, K. (1995). Our town. [acrylic and printed paper collage on canvas].
Looking forward: The journey continues
After exploring the themes of intergenerational trauma, migration, exile and healing, Sarah-Mecca was recently featured in the exhibition Inviting the conflict at the Ottawa Art Gallery. Praise unsung is currently on view in Montreal at Maison de la culture until January 5. She is also part of the group exhibition “Worth it”, running at the City Hall Gallery until February 2025.
Looking ahead, Sarah-Mecca is preparing for a solo show in 2025 in Ottawa where she will continue to explore these themes. With her multidisciplinary approach and dedication to playing with memories and imagination, she promises to deliver new, captivating works that will continue to move us as an audience.
When I met Sarah-Mecca during the opening of her solo exhibition, I was profoundly touched by her work, especially as an eldest daughter myself. We engaged in a heartfelt conversation about our experiences, sharing the unique challenges and joys that come with that role. As our conversation ended, I wished Sarah-Mecca the best for her future projects and handed her a copy of bell hooks' book Sorority as a gift. I hope this book will continue to nurture her creative spirit and support her commitment to healing.
Notes :
Fauvism is an artistic movement of the early 20th century, characterized by the bold and expressive use of color, without concern for fidelity to reality. The Fauves preferred bright and pure colors with simplified forms to provoke emotions. Henri Matisse is one of the most famous representatives of this movement.
Works cited :
Diaz, Natalie. “A Body of Athletics.” Prairie Schooner, vol. 89, no. 4, 2016, pp. 7–15, https://doi.org/10.1353/psg.2016.0018.
hooks, bell. Black Looks : Race and Representation. Between The Lines, 1992.
Shire, Warsan. “Home.” Transition (Kampala, Uganda), no. 132, 2021, pp. 338–481,https://doi.org/10.2979/transition.132.1.29.