En-closure Ramzan Jafri | Rubab Jawaid | Shahabdullah Alamee | Shakila Haider | Yasir Waqas
Satrang Gallery is an initiative of Serena Hotels Pakistan to encourage and promote talented artists in their pursuit of excellence
En-closure Ramzan Jaffri | Rubab Jawaid | Shahabdullah Alamee | Shakila Haider | Yasir Waqas Satrang Gallery is proud to present En-closure, a show featuring the artwork of Ramzan Jaffri, Rubab Jawaid, Shahabdullah Alamee, Shakila Haider and Yasir Waqas. Dealing with concepts that are fundamentally simple and yet complex in their execution, the artists in this show instantly capture the attention of their audience. United by their love of art and their ability to find solace through their work, these artists use their painting process as a means of finding closure against the atrocities they have faced individually. The stunning pieces on display have been produced through miniature techniques. This painstakingly intricate and delicate process requires time, attention and the complete concentration of the artists. Each artist has used a unique set of imagery to portray their combined theme, yet delicately ornate patterns and fabric play an important role in this collection. When considered as an ensemble, their work maps out the journey of encountering injustice and resentment, rising above them and gaining new perspective by finding an independent identity. Ramzan Jaffri paints pieces which depict patterned fabrics that are in dire need of conservation and care. They are marred by imperfections, often fraying at the ends. To Ramzan, the unraveling textiles represent the society in which he grew up. He alludes to his experiences where societal values and bonds are swiftly decaying. He is quick to remind the audience that all is not lost; the addition of bright colours and delicate patterns is a conscious choice by the artist to emphasize the hope that prevails through his work, seeping through the weave. The histories, conflicting ideals and customs of their creators have been woven into these artworks via layers and layers of intricate brushstrokes. This transmission is visible in the work of Rubab Jawaid and Shakila Haider, who investigate textiles and fabrics. The woven designs in their work enclose the work behind them and block the imagery. In Shakila’s work, for example, the bold, cross-weave obscures images of Burqa-clad ladies stitching at machines with men’s outfits hanging over their heads. Rubab’s comparatively simple presentation of stitching and embroidery is an unconventional ode to an ageold custom passed down through the women in her family. Yasir Waqas has also worked with the idea of obscurity. Using a combination of vivid colours, geometric patterns and images, Yasir paints hybrid birds and rodents that are partly mechanical and partly organic. Inspired by a love for machinery, these images are a critique and an acknowledgment of the hidden facets we shield from the world. They represent the contradictory irreconcilable desires within us. Shahabdullah Alamee’s work also explores struggle within us. His work highlights the hope that is behind this show - choosing ones identity and destiny is firmly within our grasp and it is up to us to control it. This is accentuated by the glowing figure with wings rising above a violent, wingless crowd. The show will continue until June 8, 2014.
Zahra Khan Curator
b.1985, Quetta Lives & Works in Lahore
If art is a sensitive entity then the art work of an artist is supposed to be an expression of his sensitivities. An artist cannot remain indifferent to the environment he is a product of. Likewise everything that happens around me affects me directly or indirectly and becomes the subject matter of my art work. Having been born into an environment which is not very conducive to art (or art-related activates) I myself do not know what inspired me to use art as a form to express my feelings. I have witnessed thousands of innocent people being killed in the name of religion. Events such as these and the death of my innocent cousin in particular influenced most of my recent work. I am haunted by the innocent killings around the world and cannot help but use art to channelize my depression. I use miniature painting because it helps me stay in touch with the age-old traditions of the subcontinent. In my work, I also incorporate modern techniques, such as collage and mixed media to express myself. The thematic scheme of these art pieces revolve around the concept of appearance versus reality. I am a staunch believer of the adage that â€œappearances often make deceptiveâ€?. My aim is to expose the reality and the inner beauty of the things and to save the remains of the decayed and destroyed innocence of their particles. My inspiration comes from the events and happenings in my surroundings. They ultimately lead my subconscious to separate reality from appearance, through a conscious effort. The color palette, rusty threads, distorted shapes and spoiled materials portray the premature and untimely decay that I have been observing in society since childhood. I do not go for glamour and glitter in my expression, nor do I opt for exaggerated embellishment. I rather make it simple and more lifelike. As far as my work is concerned in terms of reality the emphasis is on what is, not what should be.
Ramzan Jafri My Comfort Remains Mix Media on Wasli 24 x 18 Inches
Ramzan Jafri Untitled Mix Media on Wasli 15 x 9.5 Inches
b.1989, Lahore Lives & Works in Lahore
My work is based on the concept of embroidery and fabric. The feel of the fabric is unique. In my point of view, embroidery and the art of doing miniature are quite similar, because both the works are done with delicacy, minute and intricate style. I took this inspiration from my mother and grandmother. When I was a small kid I saw them doing these things that really amazed me. Due to time constraints I couldnâ€™t learn all this stuff, so now I paint those things in my work. Cross-stitch is one of the most beautiful embroidery styles that I am painting in my work and the fabric that is called char sooti. The pattern made in the cloth is so unique and serves as a base to work on. Apart from these I also prefer net, gauze and other embroidery styles as well.
Rubab Jawaid Landscape Gouache on wasli 8.5 x 10 Inches
Rubab Jawaid Cross stitch border Gouache on wasli 11 x 8 Inches
Shah Abdullah Alamee
b.1990, Quetta Lives & Works in Lahore
Most matters in life are out of oneâ€™s hands; one can never be born to a parent of their liking or choose the conditions (circumstances) that envelop birth- be it temporal, spatial or matters of exclusive dimensions- coming of age or not, at a significant time period can also never be of our choosing. Having a specific talent or having been able to choose to have an above average IQ (Intelligence Quotient) or EQ (Emotional Quotient) for conducting a particular activity might be something out of our reach and a paradox for understanding. But we do have the power to opt for a character our existence can bear fruitfully. Making a choice brings you to a struggle, a fight that you need to make the promise right, or else the path of escape. Finding your reality in the easy way or taking the hard way through. Paying the price of the affair or possessing it by force, in reality one is making its own Individuality all along. Living the way we live actually turns out to make our identity, the identity that we choose for ourselves, the identity that makes us who we are. Thus we continue to live like that.
Shahabdullah Alamee Khaar I Gouache on Wasli 20 x 30 Inches
Shahabdullah Alamee Gouache on Wasli 13x20 Inches
b.1986, Quetta Lives & Works in Lahore
For most people drastic events in life instigate drastic changes in the way they see the world. In my case, the moment I came back to my senses after my fatherâ€™s suicide, I wanted to provoke a drastic change, in the way the world, sees me. My beloved father suffered persecution in Afghanistan on suspicion of being a Soviet Supporter and therefore led a large part of his final days under severe depression. During his life he had sowed the seeds of his revolutionary ideals within us. As a miniature artist I have decided to weave these ideals, within my gad-rungs and nim-rungs, into the intricately woven triangular patterns of the kaptomar, a symbol for protection, incertain cultures. This series of work to me is like a tug of war between my experiences with my father, and my fatherâ€™s feelings for the world around him. We represent two generations facing war. Embedded within images nostalgic of my fatherâ€™s life and intricate patterns reminiscent of our tribal values, is the clash, between a tribe that has been in conflict for many years, and me as one of its members placing myself in the democratic republic of Pakistan. This very clash helps me create juxtapositions of natural colours, geometric motifs and glimpses from my memory, delayering each other through veils of transparency. Sometimes by showing themselves off in bold statements and at other times by playing hide and seek behind each other. But the ultimate paradox that I want to immortalize within my work of art is that where my father was a casualty of war, I choose to stand as a symbol of hope and inspiration.
Shakila Haider Beyond the Border Gouache on wasli 9 x 7 Inches
Shakila Haider Beyond the Border Gouache on wasli 9 x 7 Inches
b.1985, Quetta Lives and works in Lahore
Remembering distant memories of toy airplanes, the joy of dismantling and joining them together, growing up learning mechanics of real planes watching the fascinating details of an airplane engines, the spare parts...Was something I would fondly do..The machinery and the mechanics triggered my imagination Inspired me to draw them make other things out of them but more than that I was expected to fly them...Being a GPL Pilot and a CAA authorized aircraft mechanic, I felt limited and constrained.Something I wasn’t really sure about so started a contradictory conflict within me. What lies between is a huge haze of confusion, anxiety, struggle clash of ideas acceptance and flight from certain circumstances but not able to fully shun what has been planted in one’s mind. My work is about compromises and conflicts within a personality, between idea innate and idea implanted, and the damage to the personality and the idea itself, it explains two stories in one, like two selves living in one, two ideas poles apart existing in one mind, two opposite thoughts forcing and pushing one another..Sometimes overcoming the other and sometimes comes to terms or begin to synchronies with each other. The elderly figure the nurturer tends to give the best guidance and expects the minor will follow is the most natural and expected. But things when they don’t happen as planed they cause confusion and damage to both the individual. This forms a background for my work and I take it forward by layering it up with more meanings presenting my work in a story, a narrative of two extremely different characters. The occurrence of feather and metal in my work continue to build and deceive the viewer of because of their very nature, one being the artificially created and the other nature itself. In my work I am dealing with these very issues which coexist with each other. Yet is a contradiction to their very existence.These emotions lets a person comes to terms with himself. The battle of opposing a planted idea in my work also explains that it is not always easy to make something you think best for yourself and act according to your will doesn’t necessarily makes it your reality sometimes it leaves you claustrophobic and again a leaves you with a desire to fly to the unknown.
Yasir Waqas Everywhere is walking Gouache, ball point and pencil on wasli 53 x 32 cm
Yasir Waqas Just a little stoned Gouache on wasli 53 x 33 cm
Satrang Gallery Asma Rashid Khan - Director Zahra Khan - Curator Schezre Syed - Assistant Curator Dhoufishan Raza - Assistant Curator Siiri Nunn - Intern
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