The artist Mad­het Kakayee be­tween Kur­dis­tan, Ja­pan and Swe­den

The Kurdish Globe - - NEWS - By Ashti Garmiyani

a graphic work of Mad­hat Kakayi

The artist, who was born in Kirkuk in 1954 in South­ern Kur­dis­tan and is fa­mous for be­ing one of the ac­tive artists in Kur­dish paint­ing, has moved to Swe­den in Scan­danavia re­cently. He first started from Kirkuk, in­side a city full of re­bel­lion, cul­ture and a mix­ture of Garmiyani art. Mad­het’s roots go back to the vil­lage of Ali Sarayi. Af­ter sev­eral ex­hi­bi­tions in Kirkuk, then dreams of be­ing a Pesh­merge in Heledin, Yakhsamar and Bar­ga­loo, fi­nally he ended up in Spain to fin­ish his art study. He has had many ex­hi­bi­tions in Madrid and other cap­i­tals of the world. Then his place of stay be­came Swe­den. Here, he started to ex­per­i­ment with color and tech­niques. He has pre­served a Kur­dish iden­tity in his works, though. Later he be­came a con­nect­ing bridge be­tween Stock­holm and Tokyo. He has had public shows of his works in both cap­i­tals.

The art of Mad­hat Kakayi started from aca­demic ex­per­i­ments, in the sense that he was in­flu­enced by the popular artists in the city of Bagh­dad where he was a stu­dent at the In­sti­tu­tion of Fine Arts. Then, he moved to­wards the world of ab­stract in cor­re­la­tion with the con­tem­po­rary art. Mad­het did not go back to the aca­demic style but rather he found him­self among art of color and or­na­men­ta­tion and de­tails of Kur­dish folk­lore. In Swe­den he con­tin­ued on the same path, but the colors started to change to black, grey and brown. In a group of his work, white and grey had been the main colors. It seemed that he was very much in­flu­enced by the gray at­mos­phere in the coun­try.

Mad­het Kakayee is known as the ac­tive artist. He has had ex­hi­bi­tions in Madrid, Paris, Stock­holm and Tokyo. He’s also had one –man-shows in Kur­dis­tan, es­pe­cially in 2012 when he show­cased his works, amid lack of gallery, in his vil­lage Ali Sarayi, on the mud walls of the vil­lage houses. The move was con­sid­ered as some kind of crit­i­cism against the cul­tural au­thor­i­ties who have ne­glected art.

Mad­het Kakayee has opened sev­eral ex­hi­bi­tions in Tokyo, and has good con­tact with the artists of the city. That is why he’s con­sid­ered as a con­nect­ing bridge be­tween Kur­dis­tan, Swe­den and Ja­pan.

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