Mohamad Buwe Osman: “In Somalia, many people regard our works of art as the works of evil.”

In the vast landscape of African modern art, Dr. Mohamad Buwe Osman stands as a unique figure whose journey bridges two seemingly distant worlds: medicine and painting. A physician by training and a self-taught artist by calling, he began painting in 1995, shortly after completing his medical residency. Since then, he has cultivated a prolific career marked by over 2,500 original works, each a vivid exploration of the human spirit, memory, and imagination.

Born in Somalia and raised in a family of traditional tailors, Dr. Osman’s earliest memories are steeped in color, texture, and design, these experiences continue to animate his artistic vision. His canvases draw from both his scientific understanding of the human body and his deep emotional sensitivity, establishing his medical studies as a lens for viewing the visual world.

Dr Osman approaches art with the discipline of science but the tenderness of someone who has spent years observing the fragility of life. The duality in his Photograph painting is striking: he photographs stillness and then reanimates it with pigment, bringing quiet frames into vibrant life through his colors and brushes.

In the folds of his uploaded works in Facebook, figures of women often emerge: luminous, confident, and deeply grounded. Their skin carries the warmth and texture of Africa; their dresses, unmistakably Somali, fall with modest grace. They are at once real and symbolic: embodiments of endurance, creation, and love. Dr Osman’s women do not merely represent; they emanate, standing at the threshold between memory and imagination.

He understands anatomy, but his fascination lies in what can’t be charted, like emotion, consciousness and the metaphysical layers of being. His art becomes an anatomy of the unseen, where color replaces scalpel and empathy replaces diagnosis.

In this conversation with Geeska, Dr. Mohamad Buwe Osman reflects on the origins of his artistry, the intersections of science and creativity, and the philosophical depth that guides his practice.

Ibrahim Osman: Lets start with basics, when did you first realize that painting would be part of your life, and what early experiences in Somalia shaped your visual imagination?

Mohamad Osman: After completing my medical residency in Toledo, Ohio, in 1995, I embraced the path of a self-taught artist and haven't paused since. My artistic journey is a broad and rich tapestry. Growing up in a family of traditional African tailors, my early fantasies were imbued with the vibrant energy and dynamic interplay of colors. Working in our shop, I witnessed firsthand the emotional impact that color and design can have on people. Since then, my art has found a steady inspiration.

IO: You’re both a physician and an artist — how do these two callings influence each other?

MO: My experience with medical science ignited a profound passion for visual art. I began to see the intricate connections between the medical sciences and the creative processes of art; my medical studies became a lens through which I viewed the endless threads interwoven in the tapestry of visual art. Living and traveling throughout Old Europe (1970–1981), I merged my curiosity and knowledge of medicine with the enigmatic realms of the psyche, exploring how art can express the depths of human experience. I've always revered the innate power of art, understanding that attention and curiosity are crucial in honing artistic skills.

IO: How would you describe your artistic style, and what draws you to the colors, figures, and rhythms that recur in your work?

MO: Art, with its kaleidoscope of colors, possesses a remarkable ability to evoke optimism and stir the depths of our imagination. It's a catalyst, invigorating our minds and nourishing our souls, and this power resonates across the vast expanse of the African continent.

You could say my style mimics that of the French Post-Impressionist, Paul Gauguin, a leader of the Symbolist movement. He's characterized by bold, bright, simplified colors and forms used to convey meaning. He spent many years in French Polynesia, which reminded me of Africa.

I have over 2,500 original paintings and continue to create at least one to two paintings a week. Everything I see is art. Concurrent with mindful meditation and deep curiosity, I have an insurmountable amount of ideas and imagination.

IO: Many of your paintings seem to speak of memory, migration, and belonging. What stories or emotions are you trying to preserve through them?

MO: Memory is a powerful force that resides within our minds, closely intertwined with the subconscious. It allows us to travel through time and space, revisiting past events and locations. I find it enjoyable to relive the best moments of my life through my imagination. All of our human experiences are stored in memory, which is essential for cognitive functions like thought, perception, and communication. Memory retrieval can be triggered spontaneously or automatically. You can trace these themes of memory and experience in my books.

IO: does a painting begin with an image, a feeling, or a story?

MO: Creativity, fantasy, attention, curiosity, and imagination are the cornerstones of depicting an image. Dreams, emotions, and thoughts always play a role in our artistic journey. A story is part of your thoughts, experiences, and memories that transcend into a scene. My stories are deeply embedded in my art images.

IO: I’ve noticed that most of your characters are women. Is there any specific reason for that?

MO: Mothers are a powerful symbol of love, care, and nurturing, and they often serve as the head of the household. They play an essential role in our lives, and without them, we wouldn't exist, and we wouldn’t be painting. Our attachment to our mothers runs deep, and even as we grow older, they continue to shower us with their affection and support. Viewing beyond the realm of your imagination, you see a woman symbolizing procreation.

The love of a mother is unwavering, and it transcends age and time. No matter how old we get, our mothers keep treating us with love and kindness. They are always there to offer a listening ear, a shoulder to cry on, and a warm hug to comfort us. Their unconditional love and support help us navigate through the ups and downs of life. In summary, mothers are an integral part of our lives, and we owe them a debt of gratitude for all they do for us. Their love and care shape us into the people we are today, and their influence will continue to guide us throughout our lives. That's why I am dedicating my art to women.

IO: Are you aware of the emerging art scene and young painters back home? Is there anything promising you've noticed?

MO: Unfortunately, No. Although sporadically, I see paintings by Somali artists in the diaspora.

IO: As a painter with more than three decades in the craft, Is there anything you want to say to a young painter who will be reading this?

MO: I would like to tell them that art is not merely a perfect image that must be validated by viewers or curators. We are all born artists.

First, your art must convey a meaningful message. In Somalia, many people regard our works of art as the works of evil.

Secondly, paintings about camels feed me with a projection of nomadic life. Almost most of the Somali artists I have seen on the internet paint about camels. As an artist, you have to be endowed with a broad spectrum of a creative mind. You have to be authentic. There are millions of topics and ideas that you could transfer to your empty canvas. I'm not saying don't paint about camels or thatched roof munduls, but broaden your scope.

Finally, do not pay any attention to critiques or opinions said by others. You are a unique individual, and what you create is a reflection of who you are and what message you intend to send.

IO: What directions or dreams are guiding your art now?

MO: My work mostly stems from my desire to translate the knowledge of medicine into artistic images. I have published six books, 350 pages each, and I'm still going. My first book, "Healing Canvas," which I've archived with the American Library of Congress, covers many topics of medicine and brings them into the realm of art.