Suad left Baghdad with her husband and children in 1976, and settled in London. For her, the perpetual sense of longing for "home" has always been balanced by an awareness of the freedom that comes with distance. This freedom—a condition that gained added significance following the regime’s rise to power under Saddam Hussein in the late 1970s—has enabled her to explore her relationship with her homeland and to develop a personal visual language with which to express it.
Elements of this language are to be found within the traditions of Middle Eastern art. The winged creatures of Assyrian reliefs, Sumerian sculptures and the illuminated manuscripts of the Baghdadi School were instrumental. However, this awareness of her Arab heritage did not result in slavish imitation, but was forged with her own romantic imagination and an appreciation of western figurative traditions to create enigmatic images in which narrative and symbolism are intertwined.
A substantial monograph documenting her career was published in London in 2004. Much of Suad’s painting is characterised by an intense dreamlike and poetic sensibility that draws on motifs and symbols from within the traditions of Middle Eastern art. In recent years, these richly-coloured representations of paradise and of sleeping cities bathed in turquoise blue, have disappeared from her work as she has become increasingly preoccupied with the plight of Iraq. More on Suad al-Attar