I have come to know the artist Tagelsir (Taj) for a good while, long enough to encompass and grasp the essence and soul of his artistic contribution. His paintings, which are founded upon a thorough knowledge and skill of the artistic varieties of Arabic calligraphy, have been my guiding light in keeping track of his unceasing artistic career.  I have always noted that the magic keynote in Taj’s artistic production is secreted in the spirit of research, planning, and experimentation. He has mastered the skill of artistic visual negotiation that turns empty spaces of canvas or paper into beautiful superb works of art.

The appreciation expressed above, which is soaked in abstract philosophical-psychological jargon, stem from an objective factual interpretation of the intricate details of Taj’s artistic experience. This is embedded in the fact that he is an artist who combines knowledge and skill. He possesses the chemistry that gives him a special uniqueness in the field of calligraphic art work and visual art, in the broad sense of the word. I dare to claim that his creative energy comes first from a Sudanist contemplative background and combines with the skilfulness, perfectionism, and persistence.

This is Taj, the artist as I have come to know. My testimony is but a very brief glimpse of his rich artistic production.