Satrang Gallery is an initiative of Serena Hotels Pakistan to encourage and promote talented artists in their pursuit of excellence
Zahra Khan
Grains of Sand Ali Asad Naqvi | Amna Ilyas | Mohammad Ali Talpur | Noor Ali Chagani | Quratulain Shams | Sana Arjumand Know that the world is a mirror from head to foot, In every atom are a hundred blazing suns. If you cleave the heart of one drop of water, A hundred pure oceans emerge from it. If you examine closely each grain of sand, A thousand Adam’s may be seen in it. In its members a gnat is like an elephant, In its qualities a drop of rain is like the Nile. The heart of a piece of corn equals a hundred harvests, A world dwells in the heart of a millet seed. In the wing of a gnat is the ocean of life. In the pupil of the eye a heaven. What through the corn grain of the heart be small It is a station of the Lord of both worlds to dwell therein. -Mahmud Shabistari (‘Gulshan i raz’ The Garden of Mystery) Satrang Gallery is proud to present Grains of Sand, an exhibition showcasing the diverse work of six stellar artists who have been inspired by the tenants of spiritual and philosophical Sufi thought and poetry. These artists pay homage to this ancient mystical tradition, a form of Islam that celebrates love, life, and truth. Sufism promotes a level of closeness to God that is achieved through meditation, true love, spiritual purity and the freedom of movement. Sufi mystics and practitioners seek to transcend base human desires and achieve their true inner essence; their writings and teachings have
influenced poets, thinkers, artists and musicians for centuries. The artists in this exhibition have presented a stunning ensemble of pieces which create a deeply nuanced show. The artworks vary widely in scope, medium and even theme, but they are united in their source - they are inspired by Sufi beliefs. Drawing upon the Sufi emphasis on repetition, these artists use recurring strokes, motifs and techniques in their art; particularly love which is present throughout all the works. They distil their art practice into combinations of building blocks, into grains of sand as it were. The state of individual mind and soul influences some of these artworks. A child of a broken home, Noor Ali Chagani uses delicate miniature bricks to create solid constructions, creating a foundation upon which to safely build the rest of his life. Chagani thus preserves his sense of self and personal space. Quratulain Shams is also inspired by the quietude and introspection she finds within herself. Her pale paintings depict quiet moments, punctuated by a harsh reality. Their collaborations appear to be delicate and fragile formations yet are solid concrete constructions. The artworks achieve an inherent natural visual harmony and rhythm. Ali Asad Naqvi and Mohammad Ali Talpur draw upon the geometric and textural aspects of Sufi philosophy. Both artists create intricate patterns which cover much of the surface of their artworks – leaving nothing wasted. Talpur’s arrangements and designs weave mystical combinations of visual and spoken poetry. They form a new language. Naqvi’s representations, alternatively, are executed with specific tools and are exceedingly precise. Perhaps surprisingly, their careful precision and beautiful implementation imbues the art with an apparent freedom and wildness. Finally, Sana Arjumand and Amna Ilyas, empowered by the Sufi emphasis on light and purity, highlight clarity and texture. Both artists accentuate reflection in their artworks and create pieces that are a celebration of radiance and soul. Ilyas utilizes negative and positive space to portray natural creation, while Arjumand depicts the cycles of the moon in order to portray the ebbs, flows and progression of love.
Zahra Khan Curator
Ali Asad Naqvi b. 1986 Graduated from NCA in 2007 Lives in Lahore I have always been predisposed toward the technical side of art-making, and it has influenced my work to a great degree. My approach utilizes traditional arts and crafts in a contemporary setting and amalgamates traditional materials and skills with modern technologies like photography and computing, and in the process seeks to find original expression. I am influenced by local culture and spiritual symbolism. The materials and symbols I am inclined towards are: compass, graphite, scratching, gilding, metal patination, abstract and non-representative geometrical patterns and basic shapes like square and cube.
Ali Asad Naqvi Earth X - 2011 Scratching on photo paper 12 x 10 Inches
Ali Asad Naqvi Earth XII - 2011 Scratching on photo paper 12 x 10 Inches
Ali Asad Naqvi Earth XI-2011 Scratching on photo paper 12 x 10 Inches
Amnla Ilyas b.1980 Graduated from NCA in 2003 Lives in Lahore “Where ever you stand, Be the soul of that place...” Rumi.
Amna Ilyas Untitled - 2014 Acrylic (Black) 23 x 20 Inches
Amna Ilyas This is an Image - 2014 Etching on Perspex 24 x 26 Inches
Detail: Amna Ilyas This is an Image Etching on Perspex 24 X 26 Inches
Mohammad Ali Talpur b. 1976 Graduated from NCA 1976 Lives in Lahore Visual coherence, harmony and rhythm are the main concerns of my work. My art practice begins by looking at visuals and dealing with concepts, which manifest in the art and craft of South Asia. For several years now, some years, I have been learning and practicing the traditional art of calligraphy in order to develop a contemporary visual language. Recent works can be called visual poetry. I take the essential elements of calligraphy and organize them in such a way that a magic is created, unfolded through one’s visual contact with them. All the images are made with the repetition of a single component of calligraphy like zer, zabr, pesh and nukta. The idea of repetition with traditional craftsmanship can be like a sacred practice of writing verses of Quran, which has another level, of optical quality, the quality of capturing the mind and thought. After understanding the basic proportions of calligraphy, I have dismantled it to create a new language in my painting; in which negative and positive spaces/areas can not be separated or differentiated: A deliberate attempt to give same importance to each and every inch of the canvas; and to engage the viewer with diverse and multiple possibilities of optic experience and exploration.
Mohammad Ali Talpur Alif-2014 Ink on paper 14 x 21 Inches
Mohammad Ali Talpur Alif - 2012 Ink on paper 21 x 29 Inches
Detail: Mohammad Ali Talpur Alif - 2012 Ink on paper 21 x 29 Inches
Noor Ali Chagani b. 1982 Graduated from NCA in 2008 Lives in Lahore My work revolves around the concept of absence of home. In most of my work I found my self in search of small piece of land, to whom I can call mine. Being a broken home child I feel very close to the idea of home, family and personal space. My interest towards architecture is also evident in my work. Bricks hold a significant place in my work, for me bricks represents all my feelings, it act as a building unit of my dreams. Their small size makes them personal to me. They act as a transforming unit in the transformation of a miniature painters thoughts in to a sculpture. Their repetitive use refers to the idea of building up a miniature painting with thousands of tiny brush strokes.
Noor Ali Chagani Iak doojey de naal (with one another)-2014 Concrete and watercolour 10 x 12 x 1.25 Inches
Noor Ali Chagani The other side - 2014 Terracotta bricks and cement 15 x 10 x 1 Inches
Noor Ali Chagani & Quratulain Shams Untitled - 2014 Concrete and watercolour 25.75 x 18.75 x 3 Inches
Quratulain Shams b. 1982 Graduated from NCA in 2008 Lives in Lahore I am trained as a miniature painter. All my practice revolves around the concept of fragility and sensitivity. As being a single child I have always been very sensitive and pampered. The subtle use of colour depicts the freedom and quietness within me. I have always felt happy about this state of mine, found comfort in my own bubble. It gives me the feeling of purity and contentment. All my colour palette gives me the glimpse of calmness and delicacy which I feel being with myself.
Quratulain Shams Oouchh - 2011 Gouache on wasli 12 x 8 Inches
Quratulain Shams Security - 2011 Gouache on wasli 12 x 6 Inches
Quratulain Shams & Noor Ali Chagani Untitled - 2010 Concrete and watercolour 16 x 9 x 1 Inches
Sana Arjumand b. 1981 Graduated from NCA in 2005 Lives in Islamabad The moon is the closest heavenly body to the earth, it is seen to mirror perfection. Throughout history, artists and writers have shown the moon as an unblemished celestial form with no marks or craters on it; a perfect body of light in the sky. The craters on the moon were once thought to be the reflections of earth’s imperfections and it wasn’t until the mid 1600s that astronomers started to accept the moon’s rough mountainous landscape. Because of its imperfections, its dark side and craters, the moon can be seen as a close depiction of love. It shows us that the journey of love is not a perfect one and has its dark side too. Love is a path of struggle, of giving up the ego and experiencing the higher purpose of existence. The path of letting go to shine in another’s light is not an easy one. It is a great challenge, to loose oneself in the existence of another, just like the moon reflects the light of the sun. But in this challenge is realized our true purpose, as without its reflective capability, the moon would be invisible. For love to be realized fully one has to defeat the ego and give up worldly desires, which is the path for ones perfection. Love breaks the ego and softens the heart, but it is a painful process. The one in love radiates the light of the divine, as the Sufis say, “God is the lover and the beloved”. In spirituality the moon symbolizes the heart that has become responsive to the light of truth. The Lunar Cycle, which travels from a new moon and grows into a crescent, a half moon and full moon, before descending again to a crescent, all represent stages of reflection of light. And in other words stages of love; the phases when your heart opens up more and then contracts and then opens up again. After many such cycles then the love begins to stabilize. We know the moon because it is a lover and its purpose to reflect has made it visible to us.
Sana Arjuman Moon lit by reflection - 2014 Paste - Acrylic paint - Acrylic gel on canvas 72 x 60 Inches
Sana Arjuman Celebrating Moon - 2014 Acrylic - ink - oil on Mylar Film 42 x 42 Inches
Sana Arjuman Moon - The broken mirror - 2014 Paste - Acrylic Paint - Acrylic Gel on canvas 32 x 59 Inches
Satrang Gallery Asma Rashid Khan - Director Zahra Khan - Curator Mamoona Riaz - Assistant Curator Maham Masood - Assistant Curator
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