Posted tagged ‘exhibition’

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 🙂

Advertisements

Before, during and after (pt3): Unveiled – Saatchi Gallery

April 17, 2009

This post is a continuation of the previous two parts:
Before, during and after – Part one
Before, during and after – Part two

After After much contemplation I wonder if ‘Unveiled’ was a deliberate choice of name intended to provoke feelings of negativity? The use of the word ‘unveiled’ means that something is usually bought to everyone’s attention – something that might have been hidden behind the veil? Posters using images from Shadi Ghadrian’s ‘Like Everyday Series’ seem to give the impression that the content of the exhibition is largely related to a Muslim’s way of life and therefore a truth is being uncovered.

As it is Muslim women that wear the veil, this is a direct link of association. However, unknown to the general public, not all women wearing a veil did so just because they were made to, or, as everyone is led to believe, because they are oppressed. The women in this country are a great example – they have no social, local or political pressure to do so. If anything, it is going against the social norm to do so and they are facing up to society’s criticism. So when someone then sees that poster of a large hijab (scarf) and only an iron, pan or knife in the middle where the face should be, what are they likely to think? That a Muslim woman has no identity and is only distinguished by her domesticity?

As a young Muslim living in this country I think it is so important to educate others and give them the opportunity to discover new things. There were a few items in this show that were great to see. Others I personally would have left out. If I could question one thing about the exhibition it would be if there was any thought about how the public would be educated about the cultures and roots of the artists and if that was done fairly? Art is a great form of communication and if we could use that to spread some understanding and not ridicule or scrutiny then it would be very useful to forming an open-minded society.

I wonder at the motivations of the artists I’ve discussed above and Andy suggested I try and contact them. This is not going to be an easy task but I think I’ll give it a shot. You never know – the stuff in the brochure might just have been written to provoke reactions and encourage visits to the exhibition?

I’ll keep you posted of any replies I get.

This whole exhibition has provoked many thoughts with me, and because of the many contradictory aspects of individual works, it has led me to question my own agenda in being an artist and my own reasoning behind what I produce. Does my work have to be Islamic? If I am Islamic, will my work not automatically be Islamic too?

Below are further images from the exhibition:

Before, during and after (pt2): Unveiled – Saatchi Gallery

April 15, 2009

This post is a continuation from the previous: Before, during and after (pt1): Unveiled – Saatchi Gallery

During my walk around the exhibition I was quite surprised by the vast amount of space and the room given to the work. There was also a very mixed collection of mediums – the first one I encountered was the large rubber map of Beirut on the ground floor. In a way this kind of sets the background to the rest of the exhibition – location and geography is a big issue and you can’t get more focussed on that than with this map. This subject is something that connects all the artists that were featured – their roots. They all seemed to have something to say about their origin and the cultures that came with them.

Beirut Caoutchouc by Marwan Rechmaoui

Beirut Caoutchouc by Marwan Rechmaoui

I liked the larger pieces and am always pleasantly amazed at how artists manage to produce work at such large scales, for example the towers by Diana Al-Hadid. These are not exactly pleasing to the eye and you need to look closer to see what they are made up of. ‘All the Stops’ was made with piano keys and tubes and various other musical references, structured like an organ and made from random bits of paper, card, styrofoam and painted to look almost like a grotesque organic form. According to the brochure this intentional appearance contributes to highlight the destruction of globalisation.

An 'Impossible structure' by Diana Al-Hadid

An 'Impossible structure' by Diana Al-Hadid

There were three such towers – “impossible architecture” – all similar but completely different in structure and parts. ‘The Tower of Infinite Problems’ lying on its side in two parts, was the one I preferred due to the way you had to walk around the whole thing in order to see it properly and to see how the two parts made a whole. Walking right to the far end of the room and viewing it from that side gave a completely different view. From this end it looked like a tube that gets narrower and made up of layers of hexagons getting infinitely smaller and smaller. There were also beehive like patterns on the outer layers which are quite obscurely cut and arranged in no particular way other than the need to create the basic structure. This produced quite a contrast to the inner layers, the outer looking a bit destructive but the inner with straight edges and hexagons forming neat and regular lines.

The Tower of Infinite Problems

The Tower of Infinite Problems

I have to say I dwelled more on the ones that held instant appeal for me. But gave enough time to the ones that didn’t in order to ‘give them a chance’ to ‘set an impression’. For example I would look closely at the work, suss out the techniques used and the message being conveyed if I could. It was definitely a good thing that I chose to buy the ‘brochure’ as I don’t think I read art at all the same way that others do. I guess i’m more of a literalist – in the common/contemporary sense of the word.

It was definitely a good thing that I chose to buy the ‘brochure’ in the end as I don’t think I read art at all the same way that others do. I guess I’m more of a literalist – in the common/contemporary sense of the word.

This post is already getting very long and in order to prevent this taking another month or so I cannot comment on all the pieces I saw, many of them were impressive, maybe only because of the sheer size of them, use of colours, shapes, forms and sometimes subject. I cannot claim to understand all the pieces I saw but there are a select few I must mention.

Ghost by Kader Attia. This one took up a whole room and as can be seen it looked like a room full of women kneeling in mid prayer. These women look to be covered in shawls made from tinfoil. But you walk further along and realise that the women are hollow shells, the foil being the only thing to convey their shape. The technique is very cool. In trying to guess how the realistic forms were produced you’d imagine that the artist got someone to sit in the position required and wrapped them in the foil and then pressed it down to make it compact and tight and then somehow got them to come out of the binding without tearing the whole thing apart. Obviously there must have been a more efficient method but it highly interesting to contemplate it. Especially as each ‘woman’ looks unique and individual with a slightly different pose.

Ghost by Kader Attia

Ghost by Kader Attia


Ghost by Kader Attia

Ghost by Kader Attia

Now in this brochure it says the figures “synthesise the abject and divine” possibly because when in prayer a person is in their most humble state before God. The divine is not represented in this piece but the belief in it is. So where it goes on to say that this work questions “modern ideologies – from religion to nationalism and consumerism – in relation to individual identity, social perception, devotion and exclusion” it’s almost like the person who is writing this is trying to tick as many boxes as they can. I don’t know if this is what the artist supplied but until I do know I agree that issues of identity and social perception are the key elements communicated through this. Religion is the big one. How the women represent devotion to the Divine is clear to see and something I can relate to as a Muslim. This is something that poses many questions for me too as an artist – something I will be discussing in future posts.

I would also like to mention that I find it intriguing that in this work Attia decided to leave the faces invisible. I would be interested to know if this decision was in any way related to the idea that some Muslims believe it is not correct to portray living beings in Islam (unless completely necessary – e.g photos for ID cards etc) and especially when it comes to distinguishing facial features within art work.

Moving on I would like to mention – ‘Men of Allah’ by Ramin Haerizadeh. This is one that stood out for me – and not for the usual reasons. The images were an array of colourful, digitally manipulated body parts, small patterns and ‘tattoos’ entwining on a very dark background – therefore clear and focussed. I read the title of the work ‘Men of Allah’ and what struck me first was the amount of flesh being displayed in the work. Now the average person may not know why this is significant. But I shall explain this in just a minute.

Looking back in my ‘handy’ brochure there are several paragraphs about this collection of these images. They are based on Taaziye theatre, “a historic genre” in which very often only men are allowed to act in telling the stories of the life of the Prophet Muhammad (May peace and blessings of God be upon him). “In these photos Haerizadeh draws upon this religious ritual to stage scenes with the surreal dynamics of computer animation…” I could appreciate this work for just the medium and techniques used but that would be impossible. The method of producing as well that the intention for producing, the communication it involves and its impact are what makes a work of art what it is.

‘Allah’ is the Arabic word for God. It is used in the Qur’an as the word for God and therefore is used by Muslims. ‘Men of Allah’ therefore translates to ‘Men of God’. In the usual sense what does this mean? Perhaps someone who devotes themselves to God, the belief in Him and everything involved in the worship of Him. So far no problem right? Well let’s carry on.

Back to the brochure: “Haerizadeh’s men evolve as bacchant gods, conveying a literary mysticism in their carnal revelry…Haerizadeh reworks the codes of gender, body and sexuality. Intimately grouped and provocatively posed… in a perverse harem…epicurean and exotic”. So for anyone wondering if I was being over the top, there’s the proof from the brochure itself.

Now with this religious context in view and the use of the selected title a person who knows about this is going to wonder why the actual work holds no respect to the teachings to which it is connected.
Ok finally to the point I’m trying to make. If you’re going to even consider doing work that has any connection with the divine, spiritual, and sacred it is only right to do so with the utmost respect. I know artists who work with words/letters/poetry, producing the most beautiful artwork and even though they do not use the human form in any way they do not even go near the religious side of things. Hearizadeh clearly chose to convey an aspect of Iranian religious culture (as performing arts is not traditionally endorsed by Islamic belief) through a not so sensitive approach and as a result I find this offensive and would not be surprised if others did too.

Another collection of work in the exhibition which I can safely term as ‘controversial’ would be the ‘Tehran Prostitutes’ by Shirin Fakhim. There are a number of these life-sized puppets scattered about the room. They are made up of an array of household items and fabrics, for example knitting needles, yarns of wool and bits of lace. The body parts look to be made from sacks of cloth stuffed with more fabric, very scarecrow like. They are very scantily dressed in women’s underwear and some have abayas (long black covering worn by Muslim women) draped over the shoulders in a dishevelled manner with the revealing and vulgar and ill-fitted lingerie on full display. The impression of ‘ladies of the night’ is definitely achieved using a stark ‘in your face’ approach. I didn’t want to look at these for longer than I needed to. I know it’s a reality of life – women around the world are involved in this illicit behaviour but I was slightly confused by the artist’s choice of addressing the issue?

I guess exhibiting this kind of work in a Muslim country would have been very risky for the artist. Therefore this kind of exhibition offers them a level stage where there will not be as much judgement and scorn towards their work.

Flesh on display is taboo enough let alone an underworld of prostitution which the average and common public tend to ignore. Then there are the additional signs of other illegal and black market activity:
“Issues such as female genital mutilation, transgender orientation, homosexuality and cross-dressing are all awkwardly broached through her vulgar approximations of stitched crotches and mismatched private-bits, confusing the brutal, illicit, forbidden and desirous.” There is something of a shock-value here, right?
There is an underworld of prostitution even in Muslim countries where fornication and adultery are against Islamic law let alone this array of activity. But it still thrives because there are women – and according to the above even men – out there who need money and as long as there is demand there will be supply.

Fakhim, however, has chosen to treat this serious subject with humour and uses the situations of the ‘characters’ and the lives they portray as one big joke – ok maybe that is a bit harsh but it’s certainly not sensitive; “Fakhim ironically stages this menagerie as a source of ridicule, provocatively placing items such as alms baskets and air fresheners to illustrate public scorn and social stigma.” So in the end the purpose of this work is simply to highlight the situation and how it is placed within a strict culture but as the majority of people will agree it is something unwanted in general society – is there not a better message that can be conveyed? If we were made to feel sorry for these people and be led to think of how they could be helped instead of laughing at them – perhaps that would be more effective? Utopia doesn’t exist but there’s nothing wrong in trying to make this a better world.

Before, during and after (pt1): Unveiled – Saatchi Gallery

April 14, 2009

I’ve spent so long writing this post and procrastinating over it too – it’s been in my draft posts section for almost a month and for some reason it has conjured a lot of questions in my mind. At the same time I’ve been discussing these in the last two tutorials with John and in informal and brief chats with Andy and even a couple of my peers. The visit to the Saatchi gallery basically coincided with my personal exploration of what Islamic Art is. I think this is one topic I’ll be addressing continuously throughout my MA.

This has led me to question whether I need to make sure I just stick to what I know to be Islamic Art? But then seeing what other artists out there call Islamic Art is necessary – after all this is where I will be placing my own work, amongst today’s Islamic artists.

There have been many other issues related to all this and my personal beliefs that have kept me from being able to complete this post in the usual hour or so that I would take. I think it’s mainly due to the array of work in this exhibition but I will try and explain how seeing the work triggered certain thoughts for me.
Btw – Due to how lengthy this text has become I will divide it in to three separate posts to make it easier to digest.

Before I went to this exhibition I thought I’d read up on it first. I don’t usually like having my first impressions influenced by reviews and other people’s opinions but this time I wanted to know more about the work and the artists in order to determine if it was worth going to – for some reason I had doubts. This could be because recently work from the Middle East has been more ‘out there’ and of a European/Western influence rather than something connected to its own roots as is evident in more traditional Middle Eastern art. I think there is something special about the traditional styles that have dispersed in more contemporary work. But this is just my opinion as is everything I say in this blog of course (except where I’ve quoted). I would like to take this opportunity to remind my readers that many of my posts are heavily opinionated and are no reflection of any other individuals or groups.

Having seen a couple images and articles about the exhibition I almost disregarded it. I thought ‘well none of this looks Islamic so how is it relevant?’ Well yeh that sounds really narrow minded because although it might not fit my definition of ‘Islamic Art’ it doesn’t mean it isn’t – right? And even then it isn’t being labelled as Islamic art so why should I object to the content. The cultural background could be relevant as they come from Islamic countries.

Then I found this article and it convinced me to take a look: http://www.independent.co.uk/arts-entertainment/art/reviews/unveiled-new-art-from-the-middle-east-saatchi-gallery-london-1522227.html

Unveiled is an exhibition of contemporary Middle Eastern art, Rahbar being Iranian. Or rather, like her flag, not quite. Born in Tehran in 1976, she has been in exile in Britain and America for most of her life, which means she is both a victim of Western domination and complicit in it. She is not alone in this. Only eight of the 19 artists in this show actually live in the Middle East, and only two of the seven women. (For them, presumably, “unveiled” has a more specific meaning.) The rest – notionally Algerian, Lebanese, Iraqi or Palestinian – make their art in Paris or Berlin or New York.

Some very relevant points were made in this article – touching on issues I’ve considered myself. I wonder if, like these artists I am greatly influenced by the pulls of two different cultures. My parents are Pakistani but I was born and bought up her and have lived here in London my whole life. And yet I don’t see those things as being what defines me. I don’t feel that I need to belong to any of those places – as long as I’m not rejected from either 😐 And more importantly I don’t think anyone has the right to say one way or the other.

Routes @ Waterhouse & Dodd

October 29, 2008

Routes is a collection of contemporary Middle Eastern and Arab art. Two of the artists featured were Nja Mahdaoui and Monir Farmanfarmaian. Both their work was worth going to see. But then I was pretty sure I’d be impressed before I went as you may have seen them recently mentioned on my blog.
Located in Cork Street (just off of Saville Row), the gallery itself was quite small and the work was displayed and split over the ground floor and basement. I had no idea that Cork Street was a sort of hub for galleries. But it seems that 26 Cork St was one of the smaller ones. The problem with this is that a lot of the work on display was quite large, and I don’t think it was set out in the best way possible.

Nja Mahdaoui

Nja Mahdaoui

There were members of staff seated at their computers in various corners of the rooms and at times I had to look over the top of their heads to see a particular painting. I found this off-putting.
In one corner there was a very large mirror mosaic by Monir Farmanfarmaian that I wanted to look at quite closely and also wanted to take pictures of, but it had a collection of very unflattering white rubbish bags in front of it (the type that the dustmen collect from the large bins outside your home). Not to mention the pile of brown torn paper and bubble wrap. Ok I understand that if they were expecting a VIP guest then they probably would have done things differently.

I’d even noticed that in the image shown on the front of the exhibition leaflet the gallery space was very clean, open and spacious with no clutter and no unhanged artworks leaning against the sides of the walls. It looked so different I had to look closer to determine if it was the same gallery! My point is that the staff and owners should attempt to keep the space in a certain way and they should always be prepared for the odd visitor on a weekday afternoon who will expect to see the work in a proper manner.

In the end I asked the gentleman (who was eating his lunch at his computer desk amongst the paintings in the basement) to remove the trash bags so that I could take a decent photo. I took a photo of the offending bags too just to illustrate my point. I mean you just don’t expect this from a gallery that has such great work within, especially as it is the centre of a thriving area of London.

Anyway back to the work. I’m still really glad I went to see this collection. There were quite a few pieces that I found very inspiring. On close inspection it was also clear that even though the work is very striking on first impression, they are not perfect in the conventional sense of every line and every dot being in its rightful place. Ok there is the chance that the artist did not intend for the work to be perfect in such a way. The surfaces were lumpy in places and the lines were not quite straight or the paint didn’t quite meet the edge of the border, etc. I don’t see these as negative factors at all, but rather like elements that come about through the process of producing the work and making them what they are in the end. So the work is perfect in the end because it becomes what it is made with and from. (Does that make sense?).

To me the imperfections are a sign that humans can only strive for perfection and hope to come close to it but can never achieve it – as only God is perfect and only He can create something which is perfect (personal view based on faith here of course).

Another thing is that these imperfections make me feel a lot better about my own work. For some reason it reassures me that even though my own work isn’t perfect it’s still possible to reach a standard that is very close to perfection? Once again it is something that should be strived for as it brings out the best in what you try to achieve. So I’ll just keep going and try and produce better work every time I do something new.

Ok I have strayed from the pieces on show again – right so there were these ‘Paper Plates’ by Hamra Abbas that were made from little strips of paper with the words ‘please get served’ or ‘get served please’ printed onto them. It was a bit difficult to tell due to the way the strips overlap (zoom in on those images for a good look). Each strip was placed according to a geometric Islamic pattern and so they formed gaps were there were no strips but in the shape of stars, squares, triangles, etc. This looked great.

I think I have figured out how it might have been achieved too. Ok it’s not a very sophisticated method and would be my cheap, a little messy but workable approach. It must have been a bit like papier-mâché. The strips must have been wet with slightly sticky gluey water on one side and were stuck onto real plates with the design already laid out on there. Once all the strips were stuck down in place they must then have been allowed to dry on the plate. Then, once completely dried all the strips would be stuck together as they were overlapped at points and create an interlaced effect. Being all stuck together in the dry state makes it easier to peel the whole thing off leaving a paper plate in the shape of the original plate to which the strips were stuck. Tadaaa!

I have a couple images (all taken with my handy mobile) in the gallery so do take a look. I liked the original way in which patterns were formed here. The artist was thinking outside the box – made something that is simple yet different and with lovely aesthetic effect. I really liked it!

There were also two mirror mosaics by Monir Farmanfarmaian. One was in the shape of a triangle and the other a sort of rhombus? (Please leave a comment if you recognise the shape and let me know if I am wrong). The mirror pieces are all very small and there are whole sections that are made from squares placed together in a way that create a 3d effect. The small squares begin to look like piles of stacked cubes able to catch the light – some parts being shaded and others illuminated. There is then the contrast of the other mirror pieces that are bigger, longer, angular and slightly curved – allowing for spiral effects and shell like formations. This one was also much neater looking for some reason.

I prefer the rhombus shaped one (the one that had the bags in front and near it). Not only does the triangle seem to be at odds with its surroundings in this case but I also don’t like the shade of orangey paint or tint used for the coloured parts (see close up). However, what I think would look really good was if there were two triangle mosaics – one as it is in the picture and the other a few inches away and flipped upside down. I’m not quite sure why in my head it looks better and seems to put the oddness to rightness, but it does.

Mirror mosaic by Monir Farmanfarmaian

There were also a few other works I really liked. I’ve realised I’m really picky about what I like. I can’t help it and although I knew I had a certain taste, it now has emerged that unless it is smart, aesthetically pleasing or emotionally compelling yet still strikes a chord in my brain where the light for positive impressions is turned on, then I will just dismiss it (be it art work, clothes or anything where taste is at question). And even though I think I’m open minded enough to give everything a chance, I’m still a bit snobby about what should and should not be classed as ‘art’. Ok this could potentially turn into a giant can of worms. Hmm I wonder if I should even share that kind of thing with everyone? Well it might provoke someone to leave a comment so – lets leave it in for now.

I think I’ve made this post more than long enough. I might not have covered everything I wanted but I think I got the important stuff in. Have a look at the site for the exhibition for more information on the artists and better quality images of their work: http://www.artroutes.com/DesktopDefault.aspx?tabid=1

Word into Art – Dubai 2008 (pt 1)

October 13, 2008

I was reminded of an exhibition I went to whilst in Dubai earlier this year. It was the Word into Art exhibition that had been on in the British Museum back in 2006. I was very glad to have been able to catch the one in Dubai and I was not disappointed when I got there.

I’ve shown some of the images below of the artworks that I found of interest and to my liking.

Kamal Boullata

Ana Al-Haqq - I am the Truth by Kamal Boullata

http://virtualgallery.birzeit.edu/media/photos/vw_115629/Kamal+Boulata+3?w=225

Nur ala nur by Kamal Boullata

http://virtualgallery.birzeit.edu/p/ps?url=exhibition/BMsacred/tour011

Read more on this piece here

I like the way the symmetrical layout and break down of larger square, with rotated smaller squares, has been combined with the kufic arabic calligraphy. The subject matter is the meaning of Nur – light in arabic. It is very symbolic and has many connotations in spirituality and religion – not just Islam but Christianity too.

A bit about the artist:

“Kamal Boullata :- PALESTINE
Born in Jerusalem in 1942. Works and lives in Washington, Morroco and Paris.
Boullata recalls sitting for hours on end as a small boy in front of the Dome of the Rock, engrossed in sketching its innumerable and unfathomable geometric patterns and calligraphic engravings. Those patterns he saw as a child still echo endlessly throughout his adult work. I keep reminding my self that Jerusalem is not behind me, it is constantly ahead of me. From an interview with the Artist”

http://www.daratalfunun.org/main/resourc/exhibit/bollata/bollata.html

Ahmed Moustafa

Moustafa uses traditional calligraphy to form the artwork and uses the old and classical decorative technique of repeating more text over the first layer but mirrored upside down. Therefore you are required to turn the work upside down in order to read the next line.

Where two oceans meet by Ahmed Moustafa

http://www.fenoon.com/portfolio/pages/0001p1.html

Sometimes the text is a mirrored version but flipped horizontally to add an almost mish mash type effect. The technique is used slightly differently below and looks particularly effective in this piece which produces a great symetrical design using the arabic names of Allah (God) – which represent his attributes as named in the holy Qur’an:

The attributes of divine perfection by Ahmed Moustafa

For more info on this piece click here: http://virtualgallery.birzeit.edu/p/ps?url=exhibition/BMsacred/tour008