O Art Space recently organized a group show titled ‘After Next Inventory Of Work’ featuring ten young artists with varied styles and influenced by different art movements. Rather then comment on their work Nigaah chose to publish what the artist themselves feel about their work and translate their work and thoughts through art statements. Read on ….
In my work I have used my own body as a medium to make impressions on paper and treated them with Siah Qalam and Neem Rang. It makes a tactile texture of the body, with distorted forms formed in a feeling of ambiguity. I see certain elements of fear and suffering in my work. When I stand in front of my work I see a rush of memories hitting me like waves.
Coming from a matriarchal background, my work explores the sensitivity of my relation to the women I have been close to through her life. The female figures in the paintings are rendered of an earthly color palette to achieve the vivid browns of our Asian skin. The subjects wear a mask of fearlessness; their gaze is overtly defiant, their eyes dark, their lips dry.
My work includes conventionally painted women, including myself as the subject of my paintings, portraying myself comfortable in spaces where there are no male viewers. I am fascinated by the formal structure of the female figure, how the curves appear when two bodies are in contact with each another, capturing the considerable impact of the weight that falls on the body of the other person around, altering the natural form due to proximity, making the skin swell or depress under the encumbrance. The inspiration is from the conditions that we have grown up in, in Pakistan, teaching me that a woman could be provided for/catered by, suitably another woman: a woman could see you nude; a woman could massage you without your clothes on. Hence the comfort level with another woman, instead of a man, is the basic idea behind these works.
In a society where women are seen as things on display, ornaments pruned to perfection; I paint my women stripped down, bare, ghostly, confronting, fragile and yet baring a sense of confidence. With features carefully arranged in a blank mask, they give nothing away at first glance, but as you look closer, you realise that the composure is forced and there is much more to be unveiled.
Through my paintings, I aim to portray the inner struggle that you or I might face on a daily basis, struggles that we want to hide from the world for whatever reason, demons that we keep safely tucked away.
Kiran Waseem Raza
My work is based on the idea of travelling where memory and imagination meet and separate. My process includes multiple layers to create a certain motion by putting paint on the surface which fades away its quality. Travelling is similar to memories layering over one another, fusing with imagined events and then the haze to bring to mind something specific. I am fascinated by the way one is unable to tell where memory ends and imagination starts. When i travel,my memories travel with me and my work holds that same hazy quality in its outcome.
His work speaks about the loss he had to face when his house got demolished, but also leaves a room for a new beginning. capturing the scenes at the time of knock down, in other words, he has preserved the memories for years to come. The visuals have become more personal and have moved towards capturing interior spaces from memory as-well. As time passes, your thoughts and memories slowly move to the back of your mind and become more like a
flashback. It has been a ‘past’ now. When talking of memory and thoughts, time is very important and I have depicted a flash-back, or as we call it “the past”.
One of the painting is named “through the window” As you can see the chair in front in one painting and in the other, you can see it through the window. The painting shows a scene from the demolishing time period.The other painting is titled “the movement”. Depicting the same concept of moving, as it shows scattered equipment and things lying around. There is also a personalization and a feeling of attachment. The interior view makes it more personalized.
Noor ul ain
I usually find it hard to explain my artwork in limited words or in succinct speech, for it has been developed and influenced over time through innumerable interactions with nature, places and people at different stages of my life, particularly during my educational career. I started drawing when I was child without any purpose or end in my head; it was an engagement filled with joy and happiness. Throughout this time I never foresaw that this would be an indispensable part of my career and life. Art has influenced me personally at a very deep level, I now look at and engage with my surroundings differently. Choosing a career in Arts was a challenge for me; I knew we had limited resources and there was a lot of uncertainty whether this career would a financially rewarding one or not. But I decided to choose my passion over anything else that society make you feel is important, like recognition or money. In life, this has helped me take bold decisions and own them-whatever the consequences may be- it has made me confident and a risk taker. I also think that studying and practicing Arts academically has made me a very keen and sensitive observer, I take inspiration from many surroundings and I realize it comes surprisingly to me from least expected parts of my surroundings. So I am always on a look out for inspiration, for more surprises.
Noshad Ali Khan
A line is probably the most basic element of design, yet used correctly, it can create such complexity. My work is exactly a portrayal of that. Its a journey where simple lines gradually form intricate composition-composition itself the emotional charge of painting, which I feel, is reflection of my emotions and state of mind, with untutored simplicity.
I am saddam murad belong to swat, I graduated in BFA from the National College of Arts, Lahore. My work is based on the fact that we, in our country live in a male dominated society. Living in patriarchal culture male have always suppressed the female gender and that has become the norm. Utilizing oil paints on canvases, I've made compositions that are predominated by the male figures with female figures somewhere in there but not given as much importance.
Whenever we leave we always leave a mark behind, it could be a physical mark on any surface or a nontangible mark floating in the memory. For me to live is to leave traces and my artistic practice revolves around these traces. Marks on walls, doors, stains on clothes, dust particles on different objects, all of these surfaces are collectors of time. An old piece of paper which was kept inside a book for ages or an old cloth lying around somewhere inside or outside has countless stories to tell, it will show a glimpse of someone. Someone who was once present to leave a trace behind.
I use various mediums to record the presence of time which is embossed in countless surfaces around us. I never stick to one medium because I believe every memory and trace demands its own medium that’s why I have used mediums like installations, photography, film, writing and painting. My aim is to dig deep inside the surface of these neglected marks and develop a conversation with these marks because to me these are not lifeless stains or objects, to me these are the visual records of the people who were once “present”.
Syeda Haya Zaidi
I am leaning back in the passenger seat of my dad’s newly bought Honda Civic, a needless ornament in his already full garage, another toy he can barely afford, but the smile on my mother’s face is as big as the eyes of our bewildered neighbors . Mother takes out a handkerchief and gently dabs it on the dashboard; she says to my father that we shouldn’t take the route that passes through Liyari because it is past eight and we might get robbed. My brother who is just thirteen years old adds that a friend of his friend got shot and killed along with two other people, in a quiet street near the Highway after he complied with the gang of three masked men on bikes and gave away his money, camera and phone. His only mistake was that he started honking his car’s horns loudly and repeatedly afterwards, just so he could get someone’s attention and the muggers won’t run away with everything. Mom makes a ‘tch tch’ sound, leans back for a while and starts admiring the car again.
I am looking outside the window and wherever we go I see garbage. There’s organic garbage, plastic garbage, fabric garbage, burning garbage, heaps of garbage, shreds of garbage and floating polythene. It almost appears as if this entire city is one giant kingdom of garbage and the people governing it are completely indifferent to it. This city is on the verge of collapse. There are millions of families living in colonies where there’s garbage instead of grass and loose muddy rags instead of doors. The slums have always fascinated me. I think to myself how odd it is that home, for millions, is garbage. How wonderful it is to watch the crows fight with the goats over enormous heaps of garbage. Like governments fight the civilians for money. Like murderers fight their victims for a cheap thrill. My eyes wander off to a different place for a while.
This female beggar who is covered in a ragged, dirty black burqa is sitting amidst all the traffic, carrying an infant in her arms. It is very hot and humid but she must keep herself covered modestly, because nothing offends the divine patriarchal society like female skin. But just above this woman is a larger than life billboard, which has a picture of a fair woman in her early twenties, with a very welcoming smile, wearing beautiful purple silk and pearls, showing a lot of skin and selling soap. I wonder that men must think that her skin is the sole reason that so many good, hardworking men are able to feed their families and keep their kids in school, so no one should point any fingers at her.