Hashim Nasr : On War and Displacement

Sudanese photographer. Consequently, Hashim Nasr was in Egypt when the civil war broke out in his country in the spring of 2023. Consequently, Faced with the impossibility of returning, he gave birth to the series “On War and Displacement” during this period. Additionally, Consequently, Between symbolism. Nevertheless, dream and reality, his work pays tribute to those who have remained on the spot, while questioning the notions of belonging and exile. Meanwhile, Interview with an artist who offers another look at war.

Can you tell us about the personal and political context in which this series was created?

This series was born from a reflection on many aspects of the Sudanese civil war. In addition, on myself, my family and other people in my country. In addition, Having not witnessed the eruption of this war in April 2023 because I was in Egypt hashim nasr : war displacement with my parents. Furthermore, In addition, my brother for a vacation, this series speaks because of leaving my house behind me, my memories and my feeling of security. Moreover, This series responds to the collapse not only of a country, but of the very idea of belonging.

How did you experience this period of exile in Egypt? In addition, What concrete role did art play for you during this period?

At the beginning. Moreover, I lived in a mental vacuum, a state of denial, hoping that everything that was going on was just a dream that would eventually pass, but I ended up accepting that it was real. Consequently, It took me several months to adapt to this reality. Meanwhile, The creation of these photographs really helped me to cross this. even if it was not always easy to take a photograph.

Did you have the hashim nasr : war displacement intention to reflect not only your own experience. but also that of the Sudanese exiles not only?

Yes, absolutely. Although the series is based on my personal story, it has never been intended to speak only of me. I remember called my aunt in the second week of the war. and she told me that they had to hide under the dining table to protect themselves from bombings and clashes outside. The feeling of loss. to lose everything, and the forced displacement that haunt these images are shared by so many Sudanese. I wanted to create symbolic portraits of this collective experience. an experience that does not always appear in the big titles of the newspapers.

You describe your photograph as a mixture of dreamlike images and militant symbolism. What artistic references have shaped this vision?

Most of my inspirations are deeply rooted in my Sudanese culture. itself hashim nasr : war displacement influenced by African culture and heritage, as well as by international Western pop culture which influenced me a lot in adolescence, especially the visuals of Lady Gaga. Artists like Aïda Muluneh are among my recent inspirations: she uses visual language to explore emotions, space and identity. I am also attracted to visual minimalism and staging photography, where accessories can wear a metaphorical load. These references mingle with my militant roots, shaped by the Sudanese heritage to tell stories.

What role does the dream play in your photographic practice?

My photographs always live in this space between memory and imagination. The foundation of my series A Leap into a Dream was a dream that I had in 2021. Since that time, I have stopped translating my imaginations into pictures until today.

The use of a smartphone in this new series is both an aesthetic and political choice. hashim nasr : war displacement Why this choice?

At the start. I did not have a lens camera, so my phone was always a medium to translate all these ideas into realistic photographic forms. The practicality of the phone’s camera facilitates the shooting process without being questioned by people or authorities.

Why did you choose to hide the faces of your models?

As with the smartphone. covering faces was initially for security reasons, both for me and for my models which are friends. Later. these caps have become a way to enrich the visuals while giving more confidence to my models to pose in front of my goal, and allowing the spectator to connect more to the essence of my images without being distracted by the lines of the models.

How do you build your images? What are the different steps in your creative process?

I often start by writing hashim nasr : war displacement or sketching an idea, a sentence or even a memory that I cannot let go. I bring together accessories or I build small sets, often using materials from my environment. I think of each photograph as a scene. Moreover, I work with natural light, color and space, often photographing alone or with close friends. I finish with a few touch -ups, but I don’t really like to retouch my photos excessively.

Some of your images. such as Remembering My Uncle or The Safest Place Was Under the Dining Tableexpress very tangible sensations through their titles. How do you combine intimate memory and symbolic staging in your work?

Starting from real aspects and stories behind each photo, I try to transform what could be obvious into something metaphorical. For example, in Remembering My UncleI transmit his absence by a reversed cone from which flowers emerge.

You talked hashim nasr : war displacement about your desire to “make the intangible aspects of crises feel. How do you approach the visual translation of complex, often unspeakable emotions?

Open the door to the figurative. conceptual domain for the spectator allows you to create a space where it can grasp the bottom of my ideas and visuals, and think about the stories they contain. I believe that subjects like war can also be interpreted without having to show bloody and disturbing images.