Upcoming Exhibit of Paintings, January 2010, Jharoka Art Gallery, Islamabad
Constant Love in a Caprice World
For centuries, in this tale of emotions (Un conte d'emotions), the figuratives in my art exude an equilibrium of propriety mingled with a plethora of human complexities -- emitting a constant love in a caprice world. The terror which shakes the sleeper in us, to be sure, a human reaction to the veiled and unveiled events in our lives. Out of the fabric of my heart, cascading on the canvas form silhouette; I stretch across the course of centuries, through oscillating facets of indifference and eminent degrees of attrition endured by women, forcing me to delve within the bone of contention.
The milieu in which I reside and work from, ignites a natural stimulus to addressing national and international social-political affairs -- I become slave of my emotions, a transient dive into a world beyond this world, and a reconnoitre the fantasia of the mind -- encompassing all that seems to exist - soul, cracked logic, proofs of loss, transitory happiness, moments of pleasure, death and life, love and chaos, ideology, parochial definitions -- all of this constructs the vertebrae of our existence, our consciousness. I paint what I cannot speak. The nucleus of my art dominates on unveiling social-political anarchy, emotional and intellectual themes that effectuate women in rural and urban communities. The insignia of emotions in my figurative paintings undergo fragmentary and rhythmic grandeur; vicissitude of humanistic, realistic and of nationalistic revolution, celebrating and lamenting, a morass of human tapestry.
To paint is to incept dialogue, to transcend at many levels as an individual and as a whole society. I raise fundamental questions about the role of women in our society -- what are the effects of women's indivisibility in Pakistani society? What can the female creative mind offer, and foremost, does creativity have a gender? The consequences of inequality and injustice should not be iridescent to the human eye, that, we all need to emit a collective consciousness to prospect changes and not just vituperate when a system fails, but, to be proactive in creating awareness and encouraging a lifelong education, by exercising the courage to protest perpetrators who abuse and infect, to question and seek resolution when we witness debilitating conditions of the ultra-poor who have been silenced and marginalized. That through my paintings, I am playing the role of a spectator by questioning the 'veiled' atrocities and of a participant by creating a medium for a collective dialogue and resuscitation. It is unacceptable when families encourage concealment of sexual and violent abuse in their domestic spheres, or, the rampant HIV infected young women who are unwilling to disclose their conditions for better medical care as they live in fear should they be confronted by domestic members.
I paint as a catharsis -- to rejuvenate my spirit and enable myself to challenge the paradigm, a pandemonium between war and peace. My paintings are my protest, hope we can unite as a global society in seeking a panacea to rid off the atrophy of human dignity. A proof of a changed life is a direct result of a transformed heart.
For centuries, in this tale of emotions (Un conte d'emotions), the figuratives in my art exude an equilibrium of propriety mingled with a plethora of human complexities -- emitting a constant love in a caprice world. The terror which shakes the sleeper in us, to be sure, a human reaction to the veiled and unveiled events in our lives. Out of the fabric of my heart, cascading on the canvas form silhouette; I stretch across the course of centuries, through oscillating facets of indifference and eminent degrees of attrition endured by women, forcing me to delve within the bone of contention.
The milieu in which I reside and work from, ignites a natural stimulus to addressing national and international social-political affairs -- I become slave of my emotions, a transient dive into a world beyond this world, and a reconnoitre the fantasia of the mind -- encompassing all that seems to exist - soul, cracked logic, proofs of loss, transitory happiness, moments of pleasure, death and life, love and chaos, ideology, parochial definitions -- all of this constructs the vertebrae of our existence, our consciousness. I paint what I cannot speak. The nucleus of my art dominates on unveiling social-political anarchy, emotional and intellectual themes that effectuate women in rural and urban communities. The insignia of emotions in my figurative paintings undergo fragmentary and rhythmic grandeur; vicissitude of humanistic, realistic and of nationalistic revolution, celebrating and lamenting, a morass of human tapestry.
To paint is to incept dialogue, to transcend at many levels as an individual and as a whole society. I raise fundamental questions about the role of women in our society -- what are the effects of women's indivisibility in Pakistani society? What can the female creative mind offer, and foremost, does creativity have a gender? The consequences of inequality and injustice should not be iridescent to the human eye, that, we all need to emit a collective consciousness to prospect changes and not just vituperate when a system fails, but, to be proactive in creating awareness and encouraging a lifelong education, by exercising the courage to protest perpetrators who abuse and infect, to question and seek resolution when we witness debilitating conditions of the ultra-poor who have been silenced and marginalized. That through my paintings, I am playing the role of a spectator by questioning the 'veiled' atrocities and of a participant by creating a medium for a collective dialogue and resuscitation. It is unacceptable when families encourage concealment of sexual and violent abuse in their domestic spheres, or, the rampant HIV infected young women who are unwilling to disclose their conditions for better medical care as they live in fear should they be confronted by domestic members.
I paint as a catharsis -- to rejuvenate my spirit and enable myself to challenge the paradigm, a pandemonium between war and peace. My paintings are my protest, hope we can unite as a global society in seeking a panacea to rid off the atrophy of human dignity. A proof of a changed life is a direct result of a transformed heart.