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Enas Satir: Aghani Banat – Sudaniyah Ahl Al Farasah

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Description

Enas Satir celebrates identity, heritage, and cultural expression of her country, Sudan. Inspired by the beauty and resilience of the community, each piece is thoughtfully crafted to honor storytelling, representation, and connection. Aghani Banat – Sudaniyah Ahl Al Farasah is a tall vase making it a distinctive art object for any home, workspace, or collection.

Care & Use: Decorative only.

Material: Cone 6 clay, speckled clay, underglaze, and transparent glaze.

Measurement (in.): H8.5

Weight (lb. & oz.): 1 & 14.4

SKU: 999173

About The Artist

Enas Satir

Enas Satir is a Sudanese multidisciplinary artist living between Toronto and the UK. Working across ceramics, illustration and storytelling, her art is rooted in lived experience and shaped by the layered beauty and complexity of Sudan. In 2017, Enas moved to Toronto and slowly began finding her footing as an artist. A quiet turning point came in 2018, when she received the Toronto Arts Council’s Newcomers Mentorship Grant and worked alongside Canadian ceramic artist Erin Candela. The experience redirected her artistic path toward clay, a material she found intuitive, honest and grounding—an elder spirit, an eager storyteller. “I might’ve found the warmest form of expression, when I found clay.” In 2020, in an ode to Sudanese women, she began Aghani Banat – أغاني بنات series, which loosely translates to Girls’ Songs. Carried by the deep pulse of the daloka, a clay drum exclusively played by women, these songs have a rhythm that tugs at the soul. The melodies, once a whisper among women in private circles, have grown into a cultural thread woven through Sudanese weddings and celebrations. In Satir’s work, fragments of these lyrics appear in dancing, sweeping Arabic calligraphy wrapped around expressive faces painted in charcoal-black underglaze on bright porcelain clay — a quiet, intentional contrast holding nostalgia, longing, humour, attitude, tenderness and the unmistakable spirit of Sudanese women who celebrate, tease and resist with joy. In 2022, she turned to a more colourful, introspective body of work: Sketched — a ceramic series rooted in the years she spent filling sketchbooks during her battle with depression. Loose lines and bold marks became patterns of ripe bananas that made her laugh, and chubby figures that made her feel less alone — small private comforts finding a new life on clay. Lighter and more instinctive, these pieces offer a gentle counterbalance to the cultural depth of Aghani Banat, revealing a more personal, playful part of her practice. Satir’s illustrative work gained early recognition in 2019, when her zine Kezan & Why They Are Bad for You won the Broken Pencil Award for Best Political Zine, and 31 Days of Narcissism was named a finalist for Best Artzine. In 2023, she was selected as an Editor’s Top Pick by Designlines Magazine and awarded Third Prize at the Cabbagetown Art Show. In 2024, one of her Aghani Banat vases was acquired for the permanent collection of the Museum of Canadian History in Ottawa.

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