Research

Nasreen Mohamedi's work- Untitled.

Nasreen Mohamedi:

Nasreen Mohamedi was born in Karachi in 1937 and brought up in the vibrant city of Bombay. After graduating from the St. Martin’s School of Art in London from 1954 to 1957, she returned to India and joined the Bhulabhai Institute of Art and became one of the leading artists working in the non-figurative medium. Mohamedi travelled across Europe and the inspiration behind her work ranges from the work of Kandinsky and Malevich to the quiet desert sand dunes. Her body of work seems like a abstract representation of the quiet, structural undertones of nature that one rarely experiences. For the viewer, it brings the idea of the moment of calm before a storm to the forefront. Mohamedi lived through a time of war as 1947 marked the end of 200 year old British colonization and brought independence to a country that had been completely debilitated by a struggle for freedom. One may attribute the abstract nature of Mohamedi’s work to the disillusionment caused by the time she lived in. Pinning Nasreen Mohamedi’s work to a particular art movement has its own obstacles. The artist’s work is largely abstract and difficult to read. Apart from that, she also refuses to title her work which makes associating any kind of meaning to her paintings or photographs extremely challenging. Her work may also be interpreted as a contradiction to the place she lived in. After attaining its independence, India was growing exponentially in the fields of economy and culture and Mohamedi’s simple, unstructured style does not seem like a literal testament to her surroundings. Her work is also thought of as feminist as she seems to be in rebellion of her surroundings. Nasreen Mohamedi died in 1990 of Parkinson’s disease.

http://www.frieze.com/issue/review/nasreen_mohamedi/

http://apt5.asiapacifictriennial.com/artists/artists/nasreen_mohamedi

http://artcritical.com/2003/12/01/nasreen-mohamedi/

http://www.iniva.org/library/archive/people/m/mohamedi_nasreen

Miniature Mughal Art:

A art movement that marked one of the most powerful and glorious reigns in the history of India, miniature Mughal art can be described as a “true mirror of its times” (Indian-art.net) It was developed under the reign of kings Akbar, Jehangir and Shah Jehan. Miniature Mughal art was characterized by small, realistic images of literally, everything. Mughal paintings were an amalgamation of Persian, Indian and Islamic styles. Often, because the rulers wanted proof of their hunting ventures, the artists would accompany them which may be why the paintings seem to have a sense of grandeur (also due to the use of colors like gold, silver, deep yellows and reds) and extravagance to them. Most miniature paintings require a meticulous turn of the hand, immense attention and patience. The themes of most paintings being naturalistic, miniature paintings are often seen as celebration of the environment. Because of the Mughal’s prolific rule, miniature painting spread to other dynasties as well. For example: Damodar miniature painting also has its roots in Mughal miniature painting. This art form was also introduced to create an awareness of the Mughal power. Under kings Akbar and Babur this art form flourished and lead to the creation of masterpieces such as the Akbarnama and Surat e khana. This art form was supported mostly by the wealthy and also acts as a foundation for other related styles, such as the:

Mandu - The Style flourished during 15th Century during the period of Gayas Khilzi, dominated by Persian influence.

Chaurpanchashika - The early style prior to Mughals, responsible for the paintings of Champawati and Bilhan.

Western Gujrat - The style prior to Mughals in which mainly Jain texts were illustrated.

Imperial Mughal - The painting style flourished when the Mughals were dominating.

Sub-imperial Mughal - The style having regional and Akbari influence.

Bazar Mughal - The late paintings of Mughal Period, mainly for sale.

Avadh - Provincial Mughal

Murshidabad - Provincial Mughal

Some historians also argue that this art form was brought to India by emperor Humayun after his exile as he returned to his throne with Persian artists and gave rise to a new art form.

http://www.indianminiature.org/artSchools.htm

http://www.damodararts.com/mughal-miniature-art.htm

http://mughalminiatures.blogspot.in/

Jesuits at Akbar's Court.

Breadth and Concentration

Final December Concentration

The concentration of my body of work is a single Urdu word- “Mashallah.” In Urdu, when people see something especially beautiful that they hope to protect they say the word “Mashallah” as a prayer to guard it from the evil eye. My portfolio is almost entirely based on the aesthetic and meaning of a single word.Throughout, I have used two different kinds of Urdu calligraphy to capture the different meanings the same word may carry. While some of the work seems rigid and intangible, with no real meaning, other pieces capture the abstract emotions that are associated with the word.Often, the viewer will be able to connect the images with more than one theme or no theme at all.I have tried to work in the same mediums of ink and water color to maintain consistency.I would like to add that my body of work is still building, so the larger theme might not be easily identifiable as yet.

October Post

October Concentration

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. .

Zarka - Geometry

This the first piece for my concentration. It is not a maze. It actually repeats one word over and over again, the word being "Mashallah". "Mashallah" is an Urdu word which is meant to protect one from the evil eye, thus the images of the eye. The maze shape is actually a form of Urdu calligraphy.

My concentration for this portfolio will be geometry and the medium/theme I'm using is Urdu and Arabic calligraphy. As a kid, I always felt like the greatest achievable honour for me was having a beautiful Urdu handwriting and after 3 years of training with a professional calligraphist I found that what makes Urdu writing visually appealing is symmetry. This is why I chose geometry as my concentration. However, I find that there is symmetry in almost everything around us though it is not entirely obvious. My work won't seem "geomtrical" sometimes, but that will be a part of the mystery I'm trying to create. Because geometry, a lot like beauty, confuses me.
Word: Mashallah (Urdu word said to protect one from the evil eye)

Nugget 2

My concentration is the word "Mashallah". It is an Urdu word which, when uttered, is meant to protect an individual from physical or mental harm. The word will be repeated in all drawings and in this nugget I have posted three different styles of Arabic calligraphy that I will be using.
The first one is Nastaliq. It is known for its flow and beauty. This script is found in almost all Urdu book.The second one is Kufic which is a very rigid, complex and geometrical form of writing. The written word is mostly hard to decipher.The third one is the Sini Script. It is short,versatile and the easiest to write. It is most commonly seen on monuments and mosques.

Concentration:Geometry

My concentration for this portfolio will be geometry and the medium/theme I'm using is Urdu and Arabic calligraphy. As a kid, I always felt like the greatest achievable honour for me was having a beautiful Urdu handwriting and after 3 years of training with a professional calligraphist I found that what makes Urdu writing visually appealing is symmetry. This is why I chose geometry as my concentration. However, I find that there is symmetry in almost everything around us though it is not entirely obvious. My work won't seem "geomtrical" sometimes, but that will be a part of the mystery I'm trying to create. Because geometry, a lot like beauty, confuses me.
Word: Mashallah (Urdu word said to protect one from the evil eye)

Fayeq Oweis

http://www.oweis.com/art.html
This is the official website of Fayeq Oweis,an Arab American artist,who basically works with Arabic/Islamic calligraphy. He brings a lot of geometry into all his themes (using calligraphy)which is what I hope to achieve through my own portfolio. What's interesting about him is that though hardly anyone who sees his work knows the meaning of the words he's written and yet one can tell what culture or theme the picture/painting is based on, which I think as an artist can be extremely hard to do. Enjoy.