Zarka Shabir

Shirin Neshat. Seeking Martyrdom. Pen and ink on photograph. 1995
Simeen Farhat. Expulsion. Fabric, painted wood and wire.2009
Hunter Stabler. Cymatic Donut Lattice Interior 1. Graphite on paper. 2007
Philip Taaffe, Konya, Mixed media on linen, 2009
Valerie Jaudon. A Machine For Living IV. Acrylic and Water color on paper. 2008

Explain what it is you like about these 5 artworks (elements/common threads).

The reason why I chose these five artworks is because, in one way or another, all of them represent contemporary Islamic art. The common thread in the images would be the use of Muslim/Middle Eastern culture. Islamic art is connected to my concentration as well and I am constantly thinking about it which is another reason why these pictures stand out most for me. Other than Philip Taaffe’s painting, they do not contain any prominent colors and are rather muted. It is the shape of the painting or the sculpture that is given primary importance which is what calligraphy is about as well. I believe it is these ties that make these images appealing to me.

What is it that these elements are expressing?

The work of these artists seems to be related to Arabic or Persian culture in one way or the other. Looking at the more blatant works of Shirin Neshat and Simeen Farhat, Muslim women are depicted as self sacrificial yet strong. Both images use extreme contrasting color combinations of white or black and red, again in both cases, to depict blood. In Neshat’s photograph, a woman is depicted as a killer which blood on her hands and the impression Farhat’s sculpture gives me is that the woman has been injured in battle and is wounded. Both these women are soldiers in themselves, which is ironic because women are generally not empowered enough to retaliate in Islamic cultures. The other three works by Valerie Jaudon, Phillip Taaffe and Hunter Stabler are all patterns or abstractions. Looking at Hunter Stabler’s image, the infinite hourglass shape he has created reminds me of the domes of mosques. When inverted to fall on top of each other they may create a similar shape. Valerie Jaudon’s work actually looks like abstract Urdu calligraphy as the shapes are very similar to words. The painting in itself may be depicting a variety of themes but the reason I can connect this image to Islamic Art is because I remember seeing similar carving on the borders of the Taj Mahal as a child. Lastly, Philip Taaffe’s work is an exception to the general lack of color. It forms a kaleidoscopic image, highly intricate and colorful. This pattern is often found on the ceilings in mosques and gives a sense of hypnosis (which is considered crucial to religious devotion) thus drawing the viewer in. In one way or another I can connect all of these elements to Islam or the Middle Eastern culture.

How could you take some of these strategies and apply them to your own work -- either in terms of media, formal qualities, and/or theme?

I really like the idea of using commonly used patterns to create art. I would like to incorporate Philip Taaffe’s and Hunter Stabler’s style of using pattern to create shapes in my portfolio. I would also like to incorporate the themes that they have used; the shapes they use are not realistic and thus leave the meanings to the viewer’s interpretation. It is a different kind of art altogether and I admire them for the risks they have taken. I too would like to make my art as bold as theirs, through a constant process of risk-taking.

Artist In-depth:

The artist I chose is Simeen Farhat and the image I posted above is called “Expulsion.” Despite being an American immigrant, Farhat is still in touch with her Pakistani heritage and describes her identification with two cultures as a, “complex subject expressed in a variety of media.” She works in installation work, sculpture and drawing. Having read her artist’s statement, it seems that Farhat uses art to express the connections she has with her homeland. Most of her work depicts veiled woman, a part of the Pakistani culture she, “both shares and [has] a distance from,” and textual paintings incorporating the works of renowned Urdu poets like Faiz Ahmed Faiz and Mirza Ghalib. I really like the way Simeen Farhat is absolutely fearless in her work. She highlights controversial issues in her sculptures of women by depicting them as hollow figures. Further, though the poems of Faiz and Ghalib are known for their serenity and devoutness she arranges the text in shapes that look more like bursts of energy than anything else, thus completely altering the conventional perceptions of these poems. Personally, I think her art is a triumph. She takes it beyond the judgment of society and seems to be on a higher plane of courage.

"Artist's Statement - Simeen Farhat." Gallery: Current Work - Simeen Farhat. Web. 18 Sept. 2011. .

"The Drawing Center - Viewing Program." The Drawing Center | Exhibitions-Current | New York, NY. Web. 18 Sept. 2011. .

"Works on Paper." Valerie Jaudon. Web. 19 Sept. 2011 .

"Philip Taaffe | Gagosian Gallery in Athens 2010 | Breathtaking Athens - The Official City of Athens Visitors' Website." Athens Greece | Breathtaking Athens. Web. 19 Sept. 2011. .

"SHIRIN NESHAT B. 1957 Seeking Martyrdom, Versi." Bid in Online Auctions - Live Auctioneers. Web. 19 Sept. 2011.

"The Drawing Center - Viewing Program." The Drawing Center | Exhibitions-Current | New York, NY. Web. 19 Sept. 2011. .