Stakeholders Lead Artist Designer: Tyler Okey Project Manager: Local Architect, Sudan, Khartoum Execution Team of Young Artists: to be named, Khartoum, Sudan Structure and Material Consultants: Sin Nazri, Mechanical Engineer and Wire Product Expert,  Toronto, Canada Senior Mentor Artists: Ivan Marta-Conceptual Artist, and Sculpture,  Istanbul, Turkey       Liz Okey Visual Artist, Curator, Toronto, Canada Cultural Consultant: Not named yet. Their task is to make sure that the work is appropriate and  mindful of cultural sensibilities of the viewing public.

Concept:

When I took the Design Thinking course, I was in the midst of collaborating with many senior  and young artists to create an art piece I named the “Chariot Worrier.” The artwork was a com- pressed wire sculpture that depicts a Nubian warrior on an antiquity chariot. This very idea of co-creating art in collaboration with a number artists from different cultural  backgrounds, expertise, and disciplines a was born on a trip I took to my home country Sudan in  May of 2014. The trip was my first visit that was longer than a week after almost 30 years. Dur- ing the past thirty years, the country went through horrible civil wars mostly based on old eth- nic and religious tensions. “Nubian Warrior” on an antiquity chariot The Idea, and the challenges of the co-creating an Art piece that deals with the malleability of  Ethnic  and religious identities   Background The place I visited in 2015 was not the place I left thirty years ago. It changed drastically. There  has been a vicious civil war between the South and North part of the country. The quarter of a  century years war claimed the lives of millions of civilians and resulted in a divided nation, first  geographically into two separate states and along perceived ethnic and religious demarcation  lines. Add to that the north part of the country saw its genocidal war that left more than three  hundred thousand dead and two million displaced. Sad enough for the astute observer, it’s clear that identity politics, racial and religious tensions  are on the rise across the globe and in many societies. As a result of that, we see ethnic strife,  civil wars, and displacements of vulnerable populations is replacing social harmony, embracing  diversity and constructive and open dialogue.   Project Goals and Objects The project aims at achieving the following:  1- Engaging young artists in exploring the possibility of creating a public artwork that examine  concepts such as malleability of race, religion, language and culture  2- Exploring shared historical artifacts as a source of affinity  3- Creating public art with the intent of helping the viewers embrace their multi-identity history.

Exploration of the central concept and requesting Artists contributions as stakeholders and project participants. Utilizing Visualization and Mind Mapping to achieve  design   breakthroughs. Questions I asked  young artists- stakeholder What do you think of malleability  Culture, Race and Religion?  1-I have asked the team to contribute with ideas as of how to pull a project that is reflective of  the original theme of “malleability of creed and culture” and how we can create an engaging  and thought-provoking Art for the viewing public. 2- Do you think artistic interventions can be mean to engage citizenry into propping their group  and personal narrative about race, class, and culture?  3- The core idea behind creating this artwork is to engage young artists in seeing new possibili- ties and opportunities to provide a renewed vision for the societies where they live. This partic- ular land has gone through terrible times, and it’s the task of the artists to create works that can  ask questions that examine the status quo. 4-  Artists will be asked to contribute ideas that will make the artwork deliver on its promise of  creating affinity and have viewers rethink their own family, racial and national group narrative  they thought they were wedded to for a long time.

Project Lead  Concept Notes

Structure Notes

Concept Notes

TKhr: Team   Communication

Structure Note

Puplic Art Project    Exploration of the Affinity as Concept Behind Public Artwork  and Requesting Artists’ Continuation as Stakeholders.

Art Project Proposal Design Draft -01 ------------------------------- This was presented as a seed project and it is totally pen for chal- lenge and change by other participants

Questions  I asked Experts Consultants    I used the platform of design thinking to encourage project consultant  to add drawings, tech- nical specs, and ideas onto the original concept artwork.

Concept  1- I encouraged conceptual review of the original premise. And, I asked senior artist to chal- lenge young artists to rethink  my approach.  I demanded they engage young artist  in discov- eries and  find alternative ideas, methods, that can positively impact  project final result.

Material and Execution  2- How to ensure that we build the work in modeler way that allows for safe, cost-effective  shipping? 2- What is the best material to use to create the piece and add value and meaning to the  original concept?  3- Cost of material and the possibility of obtaining all material locally?

Method for Project Collaboration As seen in the picture above my preferred way of sharing ideas was to use sticky notes to  gather as many possible opinions within the group.  Because this project will be worked on remotely, and all key participants are in different geo- graphical location. I thought creating the main art board with the ability to add sticky notes  will be an excellent practice that I borrowed from the course.

Project Insights so far 1- There is an assumption that lead artist, designers and project managers know better. Up to  now, not much was added by other stakeholders, especially young artists.  2- I had to engage  more young artists to expand the pool of talent and hopefully diversity of  opinions 3- To remove the question of the medium, I asked for a contribution from young artists each  in their medium of expression. Project Notes The project is still in under development, and I will continue to engage stakeholders and  gather opinions to build up with what I would call shared esthetics that will deliver the mean- ing to the public and encourage the artists to provide leadership and artistic interventions  when deemed necessary.


Stakeholders Lead Artist Designer : Tyler Okey Project Manager : Local Architect , Sudan , Khartoum Execution Team of Young Artists : to be named , Khartoum , Sudan Structure and Material Consultants : Sin Nazri , Mechanical Engineer and Wire Product Expert , Toronto , Canada Senior Mentor Artists : Ivan Marta - Conceptual Artist , and Sculpture , Istanbul , Turkey Liz Okey Visual Artist , Curator , Toronto , Canada Cultural Consultant : Not named yet . Their task is to make sure that the work is appropriate and mindful of cultural sensibilities of the viewing public . Concept : When I took the Design Thinking course , I was in the midst of collaborating with many senior and young artists to create an art piece I named the “ Chariot Worrier . ” The artwork was a com- pressed wire sculpture that depicts a Nubian warrior on an antiquity chariot . This very idea of co - creating art in collaboration with a number artists from different cultural backgrounds , expertise , and disciplines a was born on a trip I took to my home country Sudan in May of 2014 . The trip was my first visit that was longer than a week after almost 30 years . Dur- ing the past thirty years , the country went through horrible civil wars mostly based on old eth- nic and religious tensions . “ Nubian Warrior ” on an antiquity chariot The Idea , and the challenges of the co - creating an Art piece that deals with the malleability of Ethnic and religious identities Background The place I visited in 2015 was not the place I left thirty years ago . It changed drastically . There has been a vicious civil war between the South and North part of the country . The quarter of a century years war claimed the lives of millions of civilians and resulted in a divided nation , first geographically into two separate states and along perceived ethnic and religious demarcation lines . Add to that the north part of the country saw its genocidal war that left more than three hundred thousand dead and two million displaced . Sad enough for the astute observer , it ’s clear that identity politics , racial and religious tensions are on the rise across the globe and in many societies . As a result of that , we see ethnic strife , civil wars , and displacements of vulnerable populations is replacing social harmony , embracing diversity and constructive and open dialogue . Project Goals and Objects The project aims at achieving the following : 1- Engaging young artists in exploring the possibility of creating a public artwork that examine concepts such as malleability of race , religion , language and culture 2- Exploring shared historical artifacts as a source of affinity 3- Creating public art with the intent of helping the viewers embrace their multi - identity history . Exploration of the central concept and requesting Artists contributions as stakeholders and project participants . Utilizing Visualization and Mind Mapping to achieve design breakthroughs . Questions I asked young artists- stakeholder What do you think of malleability Culture , Race and Religion ? 1 - I have asked the team to contribute with ideas as of how to pull a project that is reflective of the original theme of “ malleability of creed and culture ” and how we can create an engaging and thought - provoking Art for the viewing public . 2- Do you think artistic interventions can be mean to engage citizenry into propping their group and personal narrative about race , class , and culture ? 3- The core idea behind creating this artwork is to engage young artists in seeing new possibili- ties and opportunities to provide a renewed vision for the societies where they live . This partic- ular land has gone through terrible times , and it ’s the task of the artists to create works that can ask questions that examine the status quo . 4- Artists will be asked to contribute ideas that will make the artwork deliver on its promise of creating affinity and have viewers rethink their own family , racial and national group narrative they thought they were wedded to for a long time . Project Lead Concept Notes Structure Notes Concept Notes TKhr : Team Communication Structure Note Puplic Art Project Exploration of the Affinity as Concept Behind Public Artwork and Requesting Artists ’ Continuation as Stakeholders . Art Project Proposal Design Draft -01 ------------------------------- This was presented as a seed project and it is totally pen for chal- lenge and change by other participants Questions I asked Experts Consultants I used the platform of design thinking to encourage project consultant to add drawings , tech- nical specs , and ideas onto the original concept artwork . Concept 1- I encouraged conceptual review of the original premise . And , I asked senior artist to chal- lenge young artists to rethink my approach . I demanded they engage young artist in discov- eries and find alternative ideas , methods , that can positively impact project final result . Material and Execution 2- How to ensure that we build the work in modeler way that allows for safe , cost - effective shipping ? 2- What is the best material to use to create the piece and add value and meaning to the original concept ? 3- Cost of material and the possibility of obtaining all material locally ? Method for Project Collaboration As seen in the picture above my preferred way of sharing ideas was to use sticky notes to gather as many possible opinions within the group . Because this project will be worked on remotely , and all key participants are in different geo- graphical location . I thought creating the main art board with the ability to add sticky notes will be an excellent practice that I borrowed from the course . Project Insights so far 1- There is an assumption that lead artist , designers and project managers know better . Up to now , not much was added by other stakeholders , especially young artists . 2- I had to engage more young artists to expand the pool of talent and hopefully diversity of opinions 3- To remove the question of the medium , I asked for a contribution from young artists each in their medium of expression . Project Notes The project is still in under development , and I will continue to engage stakeholders and gather opinions to build up with what I would call shared esthetics that will deliver the mean- ing to the public and encourage the artists to provide leadership and artistic interventions when deemed necessary .