Archive for the ‘Research areas’ category

Further experimentation

November 8, 2009

Guess what?! For those who haven’t heard, we didn’t get to do our presentations in the end. Just a few minutes before we were about to start we were asked to evacuate the building because of a suspected gas leak. I swear it wasn’t a set-up 🙂

I wasn’t as prepared for my presentation as I would have liked to have been anyway (having been ill the night before) so maybe it was fate. We were not able to get back into the building for the rest of the day so I went home to finish my large reflective sheet cut-out.

Here are the pictures of the final stages of this:

Partially cut reflective card

Partially cut reflective card

cut-out pattern

Cutting completed - my A4 cutting mat looking very small in comparison to the A2 card

Layering reflective sheets

Here I layered the cut sheet on a regular sheet of reflective card - already the effect of the lighting can be seen on the wall next to it. I also like the fact that it looks like the reflection is coming from a pool of water

Projection with reflected light

By slightly curving the sheets the projected pattern forms wave-like shapes and also reflects the light at sharper angles. The layering combines the reflection of both the cut-out pattern as well as the blank sheet beneath

Layered projection

This time I placed the top sheet facing down - the effect creates a more solid pattern as this blocks the reflection from the bottom layer

I’m really pleased with how these reflected patterns have projected. My next mission is to find a way to animate the projection – if I can. The curved shape reminds me of waves or ripples and if I can get the sheet/s to move in a similar way then that would be really cool. I can just imagine some kind of handle that you would turn in a circle to get the wave into motion but I have no idea how I would build it. I guess its to do with mechanics and carpentry? I can imagine it being like an old wooden toy. However, it’s not a digital solution which is what I would prefer, but does it matter?

In my workshop this morning we looked into Arabesque, Islimi, biomorphic patterns. These terms are only slightly different in meaning but can generally refer to the same type of floral nature representative patterns. Adam Williamson (see his web site for an idea of his vast skills in this art, including hand-carved stone and murals :  http://www.adamwilliamson.com/)  is teaching this part of the short course. He  showed us a few slides of wave formations and diagrams that illustrate the movement of water behaving like a spinning spiral and the same can be seen in a vortex. He also showed us this video of Reuben Margolin who builds kinetic sculptures that recreate natural movements found in waves and even caterpillars: Maker profile of Reuben Margolin

Just a coincidence?

Nb: one of the first machines shown in the clip is the handle being turned to make the wave motion – that’s exactly what I was thinking!

Reuben Margolin - Kinetic sculptor

Still from video by Make Television on Reuben Margolin's Kinetic sculptures. Here you can see the wave in motion being turned using wooden handles

How am I going to make that? lol I think it would be a tad bit too ambitious to even go there. But I do need to keep thinking and experimenting to find alternative solutions…

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Charles Avery and presentation prep

November 3, 2009

My presentation prep is as of yet nonexistent. However, I have decided that I could not bear to put anyone through me reading out the essay. I wouldn’t wish that upon anyone.

So what I need to do is highlight those points that I feel are most significant and important, make a page with all the images so that I can show those as I speak, and sort out a better organisation of the content. I looked through my essay earlier and realised I could have perhaps re-organised it for better reading. But then again that’s what happens when you keep going back and looking at the work you’ve already submitted and it being too late to make changes. ‘Tis not good for one’s stress levels.

The presentation is on Wednesday so an update will be up by the end of the week (IA).

Now to the work of Charles Avery. A kind friend from my saturday workshop sent me the link to the ‘Walking in my Mind’ exhibition site: http://walkinginmymind.southbankcentre.co.uk/html/exhibition as she found it very interesting to see some of the art works.

One of the artworks was the Untitled installation by Charles Avery which is very unusual and I couldn’t possibly explain it so here are the words from the exhibition site  (http://walkinginmymind.southbankcentre.co.uk/html/artists/view/charles):

Charles Avery creates drawings, charts, sculptures and texts that combine to form installations. Since 2004, his work has focused on a single, epic project, The Islanders, an encyclopaedic investigation of an imaginary island and everything it contains – its people, customs, mythology, topography, human history and bizarre natural history – as seen through the eyes of an anonymous explorer.

The image that caught my eye was that of the Eternity Chamber:

Eternity Chamber by Charles Avery

Untitled (Eternity Chamber), 2007 - by Charles Avery (Image taken from http://walkinginmymind.southbankcentre.co.uk web site)

Now, I’m sure if you have seen my recent posts you will recognise this set-up. It looks like that human kaleidoscope image with the kids playing around inside (see post Excitement begins). I like how the pattern has been placed above and below the mirrors to create the eternity of colourful triangles using a geometric grid. This is very close to an idea I was contemplating to create, except with my own patterns which have more detail and will possibly look much more complex when mirrored in such a way. I would also probably create it at a much smaller scale. But I still need to figure out how to build the thing! It’s cool to see this and the use of colours is something to consider.

So far I have kept my work black and white and I think I will continue to do so as the effect of light and shadows is very important. These effects are more visible in high contrasting colours such as black and white. But if I have time I might dabble in some coloured pieces – see how they look.

Gender, War and Chadors – by Canvas magazine at the British Museum

October 20, 2009

This panel discussion on the topic of ‘Gender, War and Chadors’ in relation to Contemporary Middle Eastern Art, took place on Monday 12th October.

The panel consisted of three professionals with relevant experience and interest in this genre of art: Saleh Barakat (Curator and Gallerist, Lebanon), Rose Issa ( Independent Curator, Lebanon and Iran) and Dr Venetia Porter (Senior Curator of Islamic and contemporary Middle Eastern Art at The British Museum). This panel was moderated by Dr Anthony Downey (Programme Director, MA in Contemporary Art at Sotheby’s Institute of Art).

For official information andbackground into on the panellists please view this link from the Canvas Magazine site: http://www.canvasonline.com/gwac2.htm

The audience was an interesting mix of curators, researchers, critics and artists.

The talk lasted an hour and addressed issues that have cropped up for me during my research in the last year. Some of the issues mentioned were the lack of investments in Middle Eastern Art, it’s identity and how it is different to Islamic Art, why it is not considered as contemporary art when it should be and why it is usually grouped as ‘Middle-Eastern’ and sometimes ‘Islamic’ art when this is sometimes clearly a confining label or even a mistaken label for the work in question.

Here are a few notes I took. Some of this may be direct quotes or my own extension of what was said by one of the panellists:

– Defining the Middle-East as a region is becoming the subject being discussed rather than the work itself. It seems to be a Western pre-occupation. Whereas people within the Middle-Easter don’t think about it that much and sometimes not at all.

– There seems to be a problem with the local and regional infrastructure in the Middle-East which is causing a slow movement of work and communication. The knowledge is not travelling. Whether this is in terms of publishing work/writings or in trying to set up an exhibition – it takes much longer and much more effort compared to London and other European or US cities.

– Middle-Eastern art is not being taught anywhere as a comprehensive subject. You can learn the European classics anywhere, but there is no recognised institution where you could say straight off your head, for example for  ‘where a PhD in Middle-Eastern art’ should be completed, there certainly is nowhere to do this in the Middle-East. Dr Venetia Porter said that she is approached by many students asking where she would recommend they continue further studies in this subject. SOAS was mentioned as a good place as it covers the languages and culture studies.

Once the talk was finished I managed to grab some apple juice, munch some olives and a few minutes of Dr Venetia Porter’s time. A very nice and friendly lady, she was very encouraging about further studies in the contemporary Islamic art field. I mentioned my project for the Visual Arts MA I am doing and she was glad to hear that I had found a way to combine contemporary art practice with traditional creative methods from the Islamic world. As she had mentioned the lack of postgraduate courses that suit this area I was able to say that this is my way of dealing with that problem. As it happens I think my situation could not be more ideal. I have managed to set the objectives of my project to suit both the learning outcomes of the course syllabus as well as my own goals of producing contemporary Islamic art.

I departed with a smile on my face and the encouragement from Dr Venetia Porter spurring me on.

Excitement begins

October 3, 2009

I am experiencing a surge of brainstorming (I am told this is no longer a P.C word but I can’t remember what the new term is so no offence to anyone) in relation to the work I must complete by December for my assessment.

We’ve been told we should have something along the lines of a proto-type complete for that stage in our course but with all these new and exciting ideas I want to have more than just one project outcome.

I am very excited about creating the physical pieces that reflect the research I’ve been doing for the last year and have been particularly thinking about the space in which my work will be displayed,shown or installed.

There are many different ways a person can present their work and these have inspired me to think of all alternatives – not just as Plan B’s in case my main work doesn’t turn out how I wish but also as accompaniments.

At the moment I am contemplating having 3d shapes with patterns either on, around or made up from the patterns. It’s hard to explain this so I’ll leave it to when I have some pictures once I get experimenting with the shapes.

I have been doing some very bad sketches in my notebook in order to consider how lighting needs to be placed within a rectangular room for example. There also the need to consider where a person might enter from and how they may navigate through the space according to what first comes into their sight. This is very important because I am planning to have my work illuminate itself based on the viewer’s movement into the space. They need to be able to see where to go for safety reasons but it also needs to be dark enough for the light to make the right kind of effect when it comes on. I also need to consider if my work will be one large focul piece or made up of three or four pieces.

Page 1 of sketches and notes

Page 1 of sketches and notes

Page 2 of sketches and ideas

Page 2 of ideas

These sculptures/shapes also need to fit to either the walls, floor or ceiling but with the light source either pointing towards or from behind them. Once again I won’t know which is best till I try it out. The light source itself is also something I am looking closely into. In my last tutorial Andy and I discussed sensor activated lighting and he agreed this may be the right thing for me to use. I’ve had a look at PIR lighting products and am trying to find something wireless which would be less of a safety concern as well as less shabby looking once up. Pricing is also a factor and how it might be fitted to walls/ceilings.

Another really cool idea I had was to have a sort of very large 3d hollow shape, perhaps made from card or papier mache (or maybe something a bit like stiff canvas or whatever is used to make lampshades), hanging from the ceiling but high enough off the ground to allow someone to pass under it. As they would come closer it would light up and then they would be standing beneath it. When they look up into the work they would see layers of shapes cut into the material and these would overlap so that the shadows and holes would create an ever complicated pattern. What I imagine in my head certainly looks quite spectacular. I wonder if I can actually achieve it.

It reminds me of the Muqarnas found in many mosques around the world, some of the most famous being at the Al-Hambra in Spain and at the Imam Mosque in Isfahan, Iran as seen in the image below. It is a very interesting architectural feature which I will just show you instead of trying to explain:

Muqarnas at the Imam Mosque in Isfahan, Iran. Image from http://www.musliminventionsthailand.com

Muqarnas at the Imam Mosque in Isfahan, Iran. Image from http://www.musliminventionsthailand.com

And yet at the same time what I have imagined also reminds me of a kaleidoscope. As my youngest sister was sitting next to me as I jotted this down I asked her if she knew what a Kaleidoscope was. She’s ten years old and, well, her generation is quite different to mine so I can well imagine that they aren’t likely to be as familiar with a non-electronic/digital toy such as a good old kaleidoscope. And I was right, she didn’t know what it was so I did a quick search and had a look through google images as I explained it to her. I then came across this very interesting image of a human mirrored kaleidoscope:

These kids are clearly having fun, and it means they are engaging with the space too. The effect is brilliant and I think if I could adopt this in some way but have my patterns in there too then it would just be sooo good. But I’m not sure if it would be over ambitious for me to go down this route, least of all because I’d have to actually build an enclosed space with mirrors inside. Or maybe I could make a cheap and tatty/plasticky version? We’ll see. But the use of mirrors is certainly worth keeping in mind.

All in all I am really getting into this and I knew it would be the stage I would enjoy the most. I may be thinking about some of the aspects of the installation a little to early but this is how I have always worked – I like to get down to the nitty gritty much in advance so that I have contingency time as well as other work in place if needed.

Jameel Prize 2009 – V&A

September 30, 2009

N.B – I started writing this post on 23 August 09 but due to the essay, finishing and publishing this was delayed.

Surfing the net I discovered that the V&A had opened a small gallery with work on display from the finalists of it’s Jameel Prize 2009. You may have heard of the famous Jameel Gallery which holds some of the world’s most famous Islamic artefacts. This prize is supported by the same guy who commissioned the Jameel gallery:

The Jameel Prize is a new international art prize launched by the V&A and supported by Mohammed Abdul Latif Jameel. The Prize will be awarded to a contemporary artist or designer for work inspired by Islamic traditions of craft and design. (Taken from V&A’s site: http://www.vam.ac.uk/collections/asia/jameel_prize/index.html)

So on Wednesday (19-08-09) I went along to take a closer look.

Firstly we come across some of the other nominated work. The most eye-catching being Le Salon by Hassan Hajjaj.

It appeared that the corner of a cafe had been cut out from some foreign arab town and planted in the middle of the gallery. The vibrant colours made it stand out and the combination of prints on different textures encouraged an exploration of the ‘environment’. On close inspection I noted the Louis Vuitton covers on the seats sewn to the top of tin containers. As with every other object in this ‘salon’, the seats, tables shelf unit, all were made from everyday items. Most of which are heavily branded. It reminds me of Pakistan where, for some reason, nearly every bit of outside space is covered with advertisement and branding of popular products such as Coca-cola and Pepsi.

Le Salon by Hassan Hajjaj

Le Salon by Hassan Hajjaj

On the sign next to this peice installation it said ‘Interactive Installation, Multimedia’ I was a bit confused by this because having sat on the seats and moved around the objects I could not see nor hear anything happening in response to my movements. Later it came to me that perhaps what was meant by ‘multimedia’ was the traditional concept of multiple mediums in use. And the ‘interactive’ element was perhaps the fact that you are able to sit within the environment created by the work and are able to move some of the objects around.

Having studied a BSc in Multimedia I had developed my own understanding and opinion of what Multimedia is but only after coming across varied definitions and interpretations from researchers and practitioners alike. From what I have read and seen most people would regard multimedia to consist of either digital or electronic content that responds to an action. Therefore it is reactive to it’s surroundings or to something that is done to it.

In this example I believe that the term multimedia was referring to the combined elements of print, graphics, photography, textiles and crafts that were used. Nevertheless, I think it fulfilled the interactive purpose it was intended for as, visitors felt able to sit and take pictures on the provided seating.

Next was a large piece that was very familiar to me. I had seen it at the Word into Art exhibition in Dubai a few years ago. Ana by Susan Hefuna is a wooden structure made from pieces that form a pattern in its structure. Seeing from my picture this peice also plays with the light and dark with shadows being cast by the breaks in the patterns formed by the joint pieces. The combination of arabic text and pattern make this a memorable artwork for me.

Ana by Susan Hefuna

Ana by Susan Hefuna

Moving round the gallery there is a selection of different mediums in use and all with different themes too. It gives a clear impression that there are artists who are using their specialist areas of skill allowing them to create their artforms in unique styles.

A great example of this is the work of Sevan Biçakçi a Turkish Jewellery Designer. In this collection we have 5 rings which look very ornate from the regular viewing distance. However, on closer inspection (and you can only really get so close because these have been encased behind a glass enclosure) you can see that the large gem/stones that form the centre-piece of each ring actually holds something within. One looks to be the famous mosques of Istanbul, the colourful domes being the notables features of the buildings. The rings are quite large but it still must have been a painstaking process to create the miniature scenes on an within the rings.

Two of the five rings at the V&A by Sevan Bicakci

Two of the five rings at the V&A by Sevan Bicakci - Image from Nafas art magazine: http://universes-in-universe.org/eng/nafas/articles/2009/jameel_prize_2009/images/07_sevan_bicakci

Another of the rings looks to be painted with the tiniest of mosaic murals – and if you look closely you can make out the image of a figure within this. The accuracy and detail is quite amazing and makes this entry more fun to gaze at just because you’ll be trying to spot something new. For detailed images and more information about Sevan Biçakçi you can visit his website at http://www.sevanbicakci.com/

The next entry was a recognisable name from the stylistic features of the medium you may also recognise a familiarity in it (see older post in which Abbas’s ‘Paper plates’ were mentioned: https://qunud.wordpress.com/2008/10/29/routes-waterhouse-dodd/). Hamra Abbas’ ‘Please do not step’ was stuck to the floor with an angular pesperctive to give the impression it was projected from above. It was position between the two rooms that make up the gallery and so it was impossible to pass through without stepping on the words spelt out by tiny peices of paper.

Please Do Not Step by Hamra Abbas

Please Do Not Step by Hamra Abbas

The words were constructed with Islamic patterns made from the tuck together pieces of paper, linked to form geometric shapes. On these papers were the words ‘Please Do Not Step: Loss of a Magnificent Story.’ repeated continuously. Looking on Abbas’s web site you can see that she has actually used the same method and medium in her other works and these have been presented in galleries in different ways. I still like the idea of all the small pieces being used to create a larger overall work.

Next to be mentioned is Seher Shah’s Jihad Pop. This is a massive wall piece framed behind glass but completed as a print on a very large paper. The detail is immense and the content slightly overwhelming. Taking the work in as a whole is almost impossible as you cannot see all the details from one vantage point. You can however, appreciate the work that has gone into it. You can also gauge that there are a few different topics being expressed within the peice. Firstly there is the perspective provided by architectural elements. There is then the geometric shapes that come through from this and the obvious cube formations which having been coloured black are reminiscent of the Kaaba (place of Muslim pilgrimage in Mecca and the direction to where we face when praying). Then there are all the smaller petal like shapes that conjoined look like a swarm clouding around different parts of the image.

Jihad Pop Progression 4 - Interior Courtyard 1 - by Seher Shah

Jihad Pop Progression 4 - Interior Courtyard 1 - by Seher Shah (image from http://universes-in-universe.org/eng/nafas/articles/2009/jameel_prize_2009/images/14_seher_shah)

After walking from one end to the other a couple of times I then noticed some Arabic within the details around the Kaaba. This was  ‘Bismillah-ir-rahman-ir-raheem’ which translates to ‘In the name of God, the Beneficent the Merciful’. This is a very well known sentence from the Qur’an which is mentioned at the start of every new chapter. It is also used regularly as an invocation by Muslims on a daily basis before performing any act (mundane or otherwise).

As there are no human figures, or any un-Islamic elements to this work, the inclusion of the above sentence says to me ‘This is Islamic Art’. With a lot of other peices in the gallery there is a link or connection to perhaps an aesthetic familiar in Islamic Art or the cultures connected to Islamic countries. But this work displays the Kaaba as well as holy words from the Qur’an. On top of this, the piece is named Jihad Pop. Jihad is an Arabic term that translates to ‘struggle’, be this internal or external. What struggles is Shah referring to? The ones faced in Islamic countries? Or by Muslims in the West?

There is a slight chaotic nature to the piece and perhaps that was intentional. Is it an indication of how Islam is misunderstood? Or maybe it is the artist’s personal reflection of it?

Regardless of reading too much into the work – I do like this piece a lot. It incorporates many different stylistic features which seem both organic and synthetic at the same time but don’t conflict with eachother.

Now on to the winning piece – 1001 Pages. When I described this to a fellow student/friend at uni she knew why this was significant. The work, on the surface, sounds very similar to what I wanted to create myself at some stage of this project, if not as the final outcome.

1001 Pages by Afruz Amighi

1001 Pages by Afruz Amighi

Some of the similarities are the use of:

  • Light
  • Shadow
  • Patterns
  • Projection

‘1001 Pages’   is made from a thin sheet of white plastic which actually seems like fabric (this sheeting is used for making tents) that has been hand-cut by a stencil burner and hung from the ceiling. It is quite large and so comes down close to ground level.

It greatly reminds me of the windows and archways found in mosques and palaces that have cut-out designs for letting light and air in – similar to what you see in the image below taken at the Grand Mosque in Muscat:

Decorative window - Grand Mosque, Muscat, Oman

Decorative window - Grand Mosque, Muscat, Oman

The design that has been cut into the sheet is a combination of geometric shapes, vegetal patterns, birds and arched windows with further patterns within. A light is then projected through the sheet to produce a replica on the wall directly behind. The shadows cast from the patterns and intricate details that have been cut produce a lovely mirror image of light playing with dark. Opposites in colour as well as atmosphere – light contrasted to dark creates some brilliant effects.

Afruz Amighi created her work as a static piece – although with it hanging in midair you wonder if a slight breeze coming through the hall will have an interesting affect on the shadows being cast on the wall.

Detail of 1001 Pages - by Afruz Amighi

Detail of 1001 Pages - by Afruz Amighi (image from http://universes-in-universe.org/eng/nafas/articles/2009/jameel_prize_2009)

This winning piece is probably an ideal example of where Islamic art has evolved. It is a contemporary piece that utilises current technology but combines hand-crafted skills too with the traditional look of Islamic patterns as used to decorate buildings and ornaments throughout it’s history. The combination of the two allow for the work to also seem timeless but with the added knowledge that geometric patterns go beyond cultural associations because it has a connection with universal aesthetics – i.e. nature and proportion, golden ratio, etc. Then there is the fact that this work could be termed as ‘digital art’ and is moving with the trends – keeping up with the latest form of artistic expression or perhaps just presentation. Whatever the purpose, it doesn’t detract from the look and feel that is generated, if anything it seems approriate to have a projector within a gallery space. And a gallery space which is dedicated to current art work rather than antiques. Islamic Art is alive and thriving!

And to prove this I am aiming to create an installation that is interactive, so hopefully with the incorporation of my chosen design and technical elements the work will be of interest to those viewing it, and possibly fun too. And as we all know this should make it more memorable too.

For more information about the Jameel Prize please visit the official V&A page: http://www.vam.ac.uk/collections/asia/jameel_prize/index.html

And for further imagery and reviews please see Nafas Art Magazine’s article: http://universes-in-universe.org/eng/nafas/articles/2009/jameel_prize_2009/

Emerald Art and Photography Exhibition

August 20, 2009

Last week (08-08-09) I attended the Emerald Art and Photography Exhibition at the County Hall Gallery in London.  There was to be the unveiling of the winner of a recent photography competition, and the ‘world debut exhibition’ of selective Islamic Artists. So I forked out the £35 knowing that these kind of ‘Islamic Art’ events don’t come round that often.

It was quite a formal and smart atmosphere and I just got straight into examining the art work. The work on display was being presented through the Elevation Arts Agency based in London. They explained that they were very much interested in promoting contemporary yet unique Islamic Art from here in the UK where a new generation of young Muslim artists are emerging.

All photographic entries for the competition were on display in the corridors and these were available as prints with donations going to charity. There were entries from across the globe and covering all forms of subjects, conveying varied cultures, traditions and landscapes.

From the main art work on show the first piece I noticed was by a female Moroccan artist named Wadia Boutaba.  Her use of vibrant colours to paint scenes of Morocco’s busy streets are eye catching and ask to immerse the viewer.  She also paints scenes of families, people interacting and entertaining. What is interesting is that some of these paintings depict figures with no faces and yet others clearly have full facial features.  I originally assumed all her work was sensitive to perhaps the Islamic ruling of not showing human figures and some artists choose not to have faces but just the body of the figure for this reason.  But having seen her other pieces I can only guess the variation is to appeal to a wider audience.  Unfortunately Wadia  Boutaba is currently in Morocco and so I was unable to ask her directly.  Feel free to have a look at some more of her work here: http://www.imagekind.com/MemberProfile.aspx?MID=71dbf57a-415a-49ff-a14c-522ad153780c

Here is a selection of Wadia’s work that was on show that night:

Painting by Wadia Boutaba

The Band by Wadia Boutaba

Moroccon City Colours by Wadia Boutaba

Moroccon City Colours by Wadia Boutaba

Gnawa by Wadia Boutaba

Gnawa by Wadia Boutaba

A Mother's Love by Wadia Boutaba

A Mother’s Love by Wadia Boutaba

The other featured artist, was Scotsman Grant Birse. His amazing work was a collection carvings in framed wood, vases and fine furniture. I was able to speak to Birse myself and learnt that his skills were self-taught. Looking at his work this was an extraordinary thing to hear as a lot of his pieces are intricately engraved or carved with Islamic Calligraphic phrases in geometric forms. Birse uses a combination of Kufic and Nastaliq calligraphy and does so in a unique form of presentation. His engravings are reminiscent of the wooden panelling found in some of the great mosques around the world.

Birse describes himself as an ‘Islamic Artist’ and tells me he became a Muslim five years ago. This gives him a unique position in terms of an artist that has originally grown up in very much a Western society and yet has engaged with and adopted ideals that go beyond boundaries or borders. His work has spiritual significance as it enthuses his beliefs. Words such as ‘Allah’ swt and ‘Bismillah’ (in the name of God) very much feature in his pieces.

You can visit his web site here: http://www.artworkinwood.com/

Here are some images of Birse’s work:

Hikma by Grant Birse - www.artworkinwood.com

HIKMAT by Grant Birse, carved in Walnut with Gold leaf (Qur’an 2- 269)

Art in wood by Grant Birse - www.artworkinwood.com

LOVE by Grant Birse – carved in Elm wood, “Eshq”. Contemporary composition based on Nastaliq style calligraphy.

grant_birse3a

CREATION by Grant Birse – carved in Elm wood with a circular centrepiece composition of Suratul Ikhlas (Qur’an 112).

Detail of Carving by Grant Birse

Detail of CREATION by Grant Birse

Both artists have very different backgrounds and it represents something more than just who they are and what they believe in. It is an indication of the interaction that is happening between the East and West in the current Islamic Art scene. It shows that unlike in the past (from the 7th to 19th centuries) where the crafts produced in the Islamic world were defined by the ruler of that period and their geographic location, the artwork is now defined by the broader label of Islamic Art and expands beyond the geography. An artist can make a name and place for themselves within a developing and now better recognised art scene.

Carving by Grant Virse

AL – HAMD by Grant Birse – “Al-hamdulillahi Rabbil Alameen”, Praise be to Allah, the Lord of the worlds – carved in Elm wood.

Detail of Carving by Grant Birse

Detail of AL – HAMD. The style is an abstract composition in Naskhi style calligraphy.

Carved vase by Grant Birse

AHAD VASE by Grant Birse, turned vase in Burr Elm carved with Suratul Ikhlas (Qur’an 112)

I think it’s really important to have more events that focus on showcasing Islamic Arts. There isn’t really a forum for discussion about these topics – well not one that I know of. There is, however, loads out there about the history of Islamic Art. And loads about the timeline of Islamic/Arabic Calligraphy. And Middle-Eastern art is making a name for itself too but the ambiguity that this invites is something that I feel still needs to be addressed.

I think it’s still early days for contemporary Islamic Art to be seen as a straightforward obvious label. But I still have hope 🙂

LAPP – Light Art Performance Photography

August 9, 2009

I was sent this very interesting link from a friend and was compelled to share it. A combination of lights (LEDs, lasers, etc), choice locations and long exposure combine to create some great imagery. I’m not going to say much more and will let you see for yourselves: http://www.lapp-pro.de/

Screenshot from their site: http://www.lapp-pro.de/

Screenshot from their site: http://www.lapp-pro.de/

Some of the photos look almost completely computer generated but make sure you browse around the site and read up on their techniques so you can appreciate the efforts that go into creating such a unique style of photography.