Zainab Sumu

  • Zainab Sumu (B. Freetown, Sierra Leone) is a multi-disciplinary artist based in Somerville, MA. Sumu draws influence from her upbringing...
    Zainab Sumu in her studio, 2023. Image courtesy of the artist. Photo credit: Sri Thumati

    Zainab Sumu (B. Freetown, Sierra Leone) is a multi-disciplinary artist based in Somerville, MA. Sumu draws influence from her upbringing in West Africa and her travels and work experience in London and Paris. In the summer of 2022, Sumu had her first solo exhibition at Gurari Collections, Boston, where she presented paintings on paper, woven fiber sculpture, and sculptural couture. In winter 2023, Sumu is scheduled to show at Galerie Christoph Person, Paris. Amongst many permanent collections, her work is in The Quin House, Boston, and the Beth Israel Deaconess Center, Boston.

     

    A colleague connected Zainab and me last summer at the Bauhaus home of Walter Gropius. Threads of history and architecture carried from our initial meeting to subsequent visits at Zainab’s studio, where she taught me about historic sites in West Africa and traditions ranging from basket weaving to ceremonial wear and music. I’m thrilled to be able to share some of Zainab’s powerful insights and work.

  • RSK In your studio, Zainab, you have a vast collection of materials culled from travel and ranging from jewelry to...
    Zainab Sumu, Touareg-e, 2023. Jute, round reed, leather, antique Touareg leather, and wire mesh. Image courtesy of the artist.

    RSK

    In your studio, Zainab, you have a vast collection of materials culled from travel and ranging from jewelry to natural fibers and calabash. What story does this collection tell and how does it inform your art making?
     
    ZS
    I collect things that I fall in love with. The materials I collect on my travels connect me to that place. They become part of the thread that weaves the stories that inspire my work. The stories about the communities and the spirit of the people I interact with.
     
    I remember asking a man sitting on a street corner at the souk in Marrakech if he was interested in selling me some of his bric-a-brac. He looked at me questioningly and gave me a price. I gave him double, then he said, “Wait I have some more.” He went into a building and came out with all these amazing vintage and antique pieces, and I bought them all! I have used some of those materials in my sculptures. To me, every experience becomes part of art.
     
    The calabash, a biodegradable vessel, is as iconic as it is versatile, and it holds a significant place in Africa. It was one of the first crops cultivated by humans and they can be spotted in the corners of homes or at the forefront of marketplaces. To the Fulani woman, her calabash is everything. It holds her dowry and wedding trousseau. It is where she stores her most treasured items and no one but her touches it. It is how she welcomes guests to her Suudu – her place of comfort and what she uses to prepare her meals, milk the cows, and churn butter. Usually, she is one of several wives but yet she is in control. In creating my Fulbe series, I wanted to highlight the quiet power the Fulbe female wields in the home, referencing her favorite vessel the calabash and place of comfort, the Suudu

  • ZS In Fulani culture, there is a triangular relationship of interdependence between a man, his wife and family, and his...
    Zainab Sumu Fulbe Pouké , 2019. Calabash, leather, suede, and cow horns. Image courtesy of the artist.

    ZS

    In Fulani culture, there is a triangular relationship of interdependence between a man, his wife and family, and his cattle. His cattle give man milk and prestige and are treated like extended family rather than just an economic asset. In return, he gives them pasture, water and protection. Leather in my practice serves as another thread in the conversation of parts. The leather is from the cattle. I purchased ample leather from a local artisan when I was in Fouta Djallon, had it treated, dyed in different colors, and then cut up in tiny strips that could be finger and needle woven.

  • ZS Most of the yarn I use I buy from a supplier in Mellah in Marrakech; they are locally hand...
    Zainab Sumu, Aisha , 2023. Jute, reed, and suede. Image courtesy of the artist. Photo credit: Sri Thumati

    ZS

    Most of the yarn I use I buy from a supplier in Mellah in Marrakech; they are locally hand spurned. The materials are part of the conversation between me, the place, and the viewer. We are interwoven, interconnected, the traditional, the past, the contemporary, the present, and I believe that’s how we weave the future.
  • RSK Can you say a bit more on this tangible link in the work between past and present, traditional and...
    Zainab Sumu, Jadba , 2022. Large natural round reed, large smoked reed, small natural round reed, reclaimed leather strips, fur, and leather cord. Image courtesy of the artist.
    RSK
    Can you say a bit more on this tangible link in the work between past and present, traditional and contemporary? What does it mean to you to make work today that points to traditions some of which are many hundreds of years old?
     
    ZS
    The traditions of basketmaking, sewing, and painting have always existed. Whether for utilitarian reasons or as an art form, man has always created things by hand, and I have always been fascinated by making by hand. To me, a woven sculpture or a painting on paper, canvas or cloth that is inspired by a traditional story dating back thousands of years, transports us to that time even as we are present.
     
    For instance, The Great Mosque of Djenné in Mali is an architectural marvel. A UNESCO World Heritage site, it is the largest mud-built structure in the world. Originally built in the 13th century, it was resurrected in 1907. It is constructed entirely of mudbrick covered with clay made from a mixture of rice husks, earth and water that was allowed to ferment. Creating work that is inspired by this historic structure makes it accessible to an audience that may never get to see it but that now knows of its existence. Sometimes we get to retell the stories in a context that befits that story, thus preserving culture. So much of the African story is told through a skewed lens, it is important that the stories woven through my work are ones that celebrate the everyday through the past and the present.
  • RSK There is chatter and initiative in the art world to elevate artistic traditions previously overlooked by institutions, at times...
    Zainab Sumu, Djenne Mystere 2, 2016. Watercolor on paper. Image courtesy of the artist. Photo credit: Kathy Tarantola

    RSK

    There is chatter and initiative in the art world to elevate artistic traditions previously overlooked by institutions, at times referred to as craft traditions. How do you see your individual role in this movement, if at all?
     
    ZS
    Craftsmanship keeps us connected to our past. It is an art form and a necessity that has stood the test of time. Technology has helped us tremendously but even as we advance, we still need the use of our hands to create and forge our path into the future. We cannot neglect the past nor ignore modernity. My work is blending the past with the present to show our interconnectedness and establish a way forward. My role is to continue creating from my heart. To continue to push my boundaries, to keep evolving and learning and to be a source of inspiration for others. I hope the newfound interest in craft arts continues to illuminate this forward path.

  • RSK For the past several years, you’ve painted on paper frequently. More recently, you’ve been painting larger and on canvas....
    Installation view, Zainab Sumu: Interpretations Gurari Collections, Boston, July 1-Sept 18, 2022. Image courtesy of the artist and Guarari Collections. Photo credit: Myk Ostrowski

    RSK

    For the past several years, you’ve painted on paper frequently. More recently, you’ve been painting larger and on canvas. What is significant to you about this shift?
     
    ZS
    This is not a shift but an evolution of my work. I am as comfortable working on canvas as I am working on paper and on cloth. I always look for ways to challenge myself artistically and working on a larger scale is a natural progression and extension of my previous work.

  • RSK For someone who has lived all over the world, and sought so much inspiration from African and European cultures,...
    Zainab Sumu, Intertwined II, 2023. Watercolor, graphite crayon, oil stick, charcoal, pastel. Image courtesy of the artist. Photo credit: Sri Thumati

    RSK

    For someone who has lived all over the world, and sought so much inspiration from African and European cultures, for example, why do you think you’ve put roots down in Boston?
     
    ZS
    The Boston area is well known for its great institutions of higher learning, including art schools. It’s also known for its entrepreneurial spirit. I came here with the hope of attending business school but then decided to pursue the textile program at Massachusetts College of Art & Design. My mom had just passed away and I needed an outlet to channel my pain. I buried myself in the program, then my studio practice, and I have never looked back. I felt at peace here. My friends here became my family. I feel so loved and cared for here that leaving was not an option.