September catalogue: World Art Society

SePteMBeR iSSue

WHO We aRe

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Cover image: detail of a Rain-making Wand. Presented by Duende Art Projects on p. 34

anonymous amhara artist

This painting on parchment by an anonymous artist is a wonderful depiction of Gena, a traditional game popular in the Ethiopian highlands. Gena is similar to field hockey and is played in the space between villages without defined boundaries. Two teams throw a wooden ball in the air and hit it with sticks, the goal being to prevent the opposing team to bring the ball to their village. The game is closely associated with Gena, the celebration of Christmas, from which it gets its name. Because Ethiopia follows the Julian calendar, Gena falls on 7 January.

According to an Ethiopian legend, Gena was first played by shepherds to celebrate the birth of Jesus. An inscription in ge’ez on the upper left section of the painting reads “Seebeaa Segel”, “The Three wise men”. On the right side is written close to the raised staff in ge’ez, “Birthday”referring to Christ’s Birthday, or Christmas!

Painting on parchment of the nativity and the ethiopian traditional game gena

Ethopia

Mid 20 century

Parchment 83 cm x 40 cm

Frame: 99 cm x 57cm

Provenance:

Owen Hargreaves, London

Price on request

aRtWORk PReSented By:

Duende Art Projects

T.:+32 485 98 20 36

E.: bruno@duendeartprojects.com

W.: www.duendeartprojects.com

anonymous Cameroon artist

kirdi Shield (karmin)

Mid 20 century

Metal, cloth

54 cm x 47 cm

Provenance:

Justin Barthels, Maastricht

Price: 970 euros

aRtWORk PReSented By:

Duende Art Projects

T.:+32 485 98 20 36

E.: bruno@duendeartprojects.com

W.: www.duendeartprojects.com

Fang Zhaoling

Fang Zhaoling (1914 – 2006) was one of the most prominent Hong Kong ink artists of her time. Her works take strong influence from calligraphy, which she explored in depth as a child. Also known as Lydia Wong, Fang Zhaoling was born in Wuxi, Jiangsu Province, China in 1914. She initially studied bird and flower painting under Chen Jiucun and landscape painting under Qian Songyan. In her teens, Fang travelled to the United Kingdom to study. As a result, she received her education in both Chinese and Western systems and was proficient in the terms and ideas used in each mode of thought. This formative time spent abroad allowed her to traverse cultural boundaries with more ease, perhaps informing the universal appeal and themes touched upon in her work. Indeed, her practice can be seen as a clear attempt to locate opportunities for development within the tradition of Chinese ink painting, but without ever losing its original language or sentiment. In 1953, after moving to Hong Kong, she became a student of Zhang Daqian, revered master of Chinese ink painting. Later closely studying works by Qi Baishi, Fang adopted a more free and energetic style, increasingly apparent in her more recent works. The 1960’s – 70’s saw her travel to Brazil and California, continuing to paint alongside Zhang and taking part in numerous overseas exhibitions. Fang Zhaoling passed away in 2006.

longevity (Mountain deer)

Summer, 1986

Signed and dated, with one seal of the artist

Ink and water-colours on xuan paper

148 x 83 cm

Provenance:

Acquired directly from the artist, Hong Kong, June 1987

The Water, Pine and Stone Retreat Collection, Hong Kong. Price on request.

aRtWORk PReSented By:

Pavilion, London

T.: +44 (0) 7523 018239

E.: info@paviliongallery.com

W.: www.paviliongallery.com

Hoshino Satoru

Hoshino Satoru (b. 1945) was born in Niigata prefecture, north west of Japan, known as a snowy region. After graduating from Ritsumaikan University in 1971, he stayed in Kyoto and learned ceramic techniques at Fujihira Pottery until 1973. Kyoto was home to Sodeisha (Crawling through Mud Association), the influential avant-garde ceramic group founded in 1949 by Yagi Kazuo (1918-1979), Suzuki Osamu (1926 - 2001) and Yamada Hikaru (1923-2001).

Inspired by the free creative expression of forms and the unconventional ceramics produced by these innovative artists, Hoshino joined Sodeisha in 1974. He was especially drawn to the kokuto pieces (lit. black ceramic; smoke infused sculptural ceramic) produced by Yagi Kazuo. Hoshino identified strongly with the monochromatic palette of Yagi’s ‘black’ works as they reminded him of the bleak winters from his childhood in his home town of Niigata, black of soil and white of snow. Kokuto became the iconic style of Hoshino.

From an early stage, Hoshino’s work has been widely acclaimed, especially after winning the Nihon Togeiten (National Ceramic Art Exhibition) Ministers Prize with “Surface Strata and Depth II” in 1979. The Surface Strata series represents his early career and Hoshino went on to win awards at a number of exhibitions.

In 1986, a landslide destroyed his studio, which changed Hoshino’s view and attitude towards clay completely. Until this tragic incident, clay was a material for his ceramic making which enabled the artist to freely form into shapes

at will. However, after witnessing the power of the elements he realised that clay was ‘nature’ itself and held life and energy within it. Without connecting to this energy, the artist cannot come closer to his material and its true nature. From that moment, he changed his style, stopped using any tools and used only his hands and fingers to shape the objects in his series “Appeared Figure”. His later series include dynamic installation works, “Ancient Wood –Land” and “Beginning Form – Spiral”, arranging a number of smaller ceramic pieces in an abstract manner on walls.

Kokutō (smoke-infused black ceramic) “Tsui” yori Hyōsō (Surface Strata from “a Pair”)

Japan, 1978

H. 19cm x W. 19cm x D. 36cm (7½"" x 7½"" x 14¼"")

Price: 9.000 euros

Tomobako (original box): Titled Kokutō “Tsui” yori Hyōsō (Surface Strata from “A Pair” in black ceramic), signed Satoru and sealed Hoshi

Exhibited: Tottori Prefectural Museum

aRtWORk PReSented By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Jamini Roy (1887-1972)

One of the earliest and most important artists of the Indian modernist movementJamini Roy began his artistic training in the European academic styleIn response to a burgeoning sense of nationalism, from the mid-1920s he became increasingly influenced by indigenous folk art and craft traditions as well as East Asian calligraphy. Roy was particularly inspired by the Kalighat style, producing minimalist works characterized by soft, curvilinear strokes showcasing the artist's control of the brush. These paintings employed imagery from everyday life, such as mother and child figures, and were executed in monochromatic palettes

The present artwork epitomizes the simplistic style Roy developed during this period in his careerFluid, sweeping black strokes against a soft gray background form the outline of a woman standing in three-quarters view, her hands crossed in front and her head tilted coyly. Devoid of any identifying features, the painting evokes an inviting yet mysterious atmosphere, ultimately illustrating the artist's mastery of the brush and contourThe piece is signed in Bengali at the lower right.

untitled (Woman Standing)

Circa 1920

Tempera painting on cardboard

68,6 cm x 36,2 cm

Provenance:

Private New York collection

Private Pennsylvania collection.

Price on request

aRtWORk PReSented By:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

W.: www.kapoorgalleries.com

Lui Shou-kwan

Lui Shou-kwan (1919-1975) was one of the most significant artists in Hong Kong during the second half of the 20th century, prominent and recognized for his uniquely experimental approach to ink painting. Lui was largely credited with expanding the tradition of ink painting from within to incorporate bold, gestural and abstract mark-making, connecting traditional practice with a more international, contemporary aesthetic. Lui Shou-kwan inherited his father’s interest in painting, studying works of past masters such as Bada Shanren (1626-1705, Ming Dynasty), Shitao (1642-1707, Qing Dynasty) and Huang Binhong (1865-1955), who he studied under for a short period.

After moving to Hong Kong in 1948 and working for the Yaumatei Ferry Company, Lui took great inspiration from the surrounding landscape of mountains and sea views – often brought together in combination with his more internal, abstract gestural works. It was through this development of artistic language that he arrived at his most notable and unique form of Zen painting – an amalgamation of allegory and abstracted imagery. The resulting works traverse a fine line between representation and bold, pure mark-making.

Chan (Zen) lotus

Signed, dated and with three seals of the artist Hanging scroll Ink and water-colours on xuan paper

152 x 83 cm

Provenance: The Artist’s studio, 1975 The Artist’s brother By descent in the family. The Water, Pine and Stone Retreat Collection (acquired 2012).

Price on request

Title slip: “Lui Shou-kwan ‘Lotus’ 1972”, inscribed by the Master of the Water, Pine and Stone Retreat with one seal of the collector

Shihui 士撝

Inscription:

aRtWORk PReSented By: Pavilion, London

T.: +44 (0) 7523 018239

E.: info@paviliongallery.com

W.: www.paviliongallery.com

Marie diane

A Parisian at heart, Marie Diane expresses herself through her multiple creative facets.

Endowed with a refined gesture and eye, this selftaught artist practices drawing and painting. For nearly 20 years, she has been experimenting with very different styles, letting her imagination and talent run wild as she creates. In 2014, Marie Diane exhibited for the first time in a London gallery the GX Gallery where her works met with great success.

She paints, enhances, details sculptures. After several years in England, Marie Diane decided to settle in Paris. In 2020, curious to broaden her creative palette, Marie Diane creates small test drawings in Indian ink.

She visits Parisian fairs, gets inspired and imagines new forms. Little by little, the artist sketches masks and tribal statues, the best way according to Marie Diane to learn and enter this subject which fascinates her., A real bulimic artist, Marie Diane satisfies her thirst for elsewhere by reproducing all the objects she discovers in the books in her library. Her gaze is fed by masks and statues, ancestral customs and primordial rituals. She also listens to African music, watches documentaries and reads a lot in order to immerse herself in this captivating universe. Determined to see beyond the simple aesthetics of these pieces, she wishes to recontextualize them, understand their stories before transcribing them on paper. Very quickly, Marie Diane moves on to large formats.

In June 2021, gallery owner Eric Hertault invites her to exhibit in his gallery during Paris Tribal Fair. This unprecedented dialogue between both arts was a real success. With their disturbing realism, Marie Diane's paintings quickly find their audience. The artist extendsher exhibition there during the Parcours des Mondes in September and at

Galerie Mingei, both located in the heart of Paris in the VIth district. The artist also signs the invitation card for the highly anticipatedCToshimasa Kikuchi exhibition at the Musée Guimet (2021).

Marie Diane sees, in ink, a way to go further in creation. She spends many hours on each drawing, from nine to fifteen hours for a large format. The application of Indian ink, a complex play of light and transparency, requires several stages of drying, for a better restitution of depths and volumes, leading the artist to work on several drawings at the same time. Working with Indian ink undeniably offers a new dimension to drawing. Marie Diane likes to challenge herself on different textures. Wood, blade, basketry, leather, the artist always makes sure that the work keeps its relief, its depth, its authenticity.

Meticulous, she observes and analyzes each detail in order to reproduce the essence of each sculpture as accurately as possible. She works from contrasted pictures which help her to ""enter the light and take possession of the object. Marie Diane's drawings offer a new look at extra-Western creation. Her works are a kind of ""zoom"", an invitation to admire the incredible play of light and matter of those pieces. From Africa to Asia, Marie Diane ’s graphic lines seem to have no limits.

As for painting, her other refuge, there is no doubt that we are no longer talking about precision. It is a complete letting go; a timeless and personal interpretation of space. Highlighting direction with colors is her only finality. The eye is quick to detect the permanent research, to put clarity on this agitated painting which is nevertheless dominated by very structured organizations. Marie Diane daringly seeks to master and burst color through various superimpositions with a painter's knife.

dans les pas du passé

Acrylic on canvas

48 x 38 cm

Price: 1.200 euros

aRtWORk PReSented By: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

Rêve profond, 2022

Acrylic on canvas

92 x 73 cm

Price: 2.200 euros

aRtWORk PReSented By:

Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W. : www.eric-hertault.com

anonymous Mumuye artist

In Nigeria’s Middle Benue region, Mumuye rainmakers were regarded with awe. They brought rains on time each year to assure the fertility of crops. Among their ritual instruments were forged iron wands in distinctive zigzag form, which represented a flash of lightning or the sudden strike of a snake, both harbingers of thunder and rain. Such regalia were kept in the ground inside shrines where offerings could be made. These wands could take elaborate forms, with several pointed iron elements bundled in clusters or inserted into small ceramic vessels..

Rain-making Wand

Nigeria

Early 20 century

Iron

52 cm

Provenance:

Finette Lemaire, Amsterdam, The Netherlands, 2022

Duende Art Projects, Antwerp, Belgium 2022

Price: 1.400 euros

aRtWORk PReSented By:

Duende Art Projects

T.:+32 485 98 20 36

E.: bruno@duendeartprojects.com

W.: www.duendeartprojects.com

Otto nielsen

to india by Scandinavian airlines System

Circa 1950's

Linen backed poster 100,33 cm x 60,96 cm

Price on request

aRtWORk PReSented By: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

W.: www.kapoorgalleries.com

Shao Wenhuan

Unknown 3

2013-14

Photography, negative imagery, handed painted gelatin silver on silk and satin

Each panel of six: 120 cm x 60 cm x 6 cm

Price on request

aRtWORk PReSented By:

Rasti Fine Art Ltd.

M.: +852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

Shinoda toko

Shinoda Toko (1913-2021) was born in Manchuria and moved with her family to Tokyo in 1914. Her father was a keen calligrapher and his interest encouraged Shinoda to practise calligraphy from the age of six years old. By her early twenties she was an independent calligraphy teacher and against her father’s wishes decided not to marry but to pursue a career as an artist instead.

Shinoda had her first solo calligraphy exhibition in 1936 at Kyukyodo Gallery, Tokyo, and by 1945 she was producing work which departed significantly from the rigid forms of traditional brushwork. Following numerous solo exhibitions of calligraphy her work started to change and in her early forties the focus moved to compositions consisting mainly of thin freely applied brushstrokes. Having a strong-willed character and a desire to develop her creativity beyond the limitations of classical calligraphy and its restrains, Shinoda decided to break away and begun to produce abstract works using traditional materials. This development received severe criticism from the established calligraphy circles of Japan, however her work was recognised by major international art institutions and she was included in two exhibitions at the Museum of Modern Art, New York in 1953 and 1954 respectively.

In 1956 Shinoda moved to New York where she would be free to further develop her artistic expression and mingle with people who believed

in and supported her work such as the painter Franz Kline (1910-1962) and long-term dealer and friend Norman Tolman. At this time Abstract Expressionism was at the forefront of the American art scene giving the artist a rich source of inspiration and development possibilities.

Having established herself internationally Shinoda returned to Japan in 1958 with a renewed confidence enabling her to develop further and to begin using bolder and thicker brushstrokes alluding to the strength of Abstract Expressionism. In 1960 following the advice of fellow artist and printmaker Arthur Flory (19141972) Shinoda added another facet to her oeuvre and began to produce lithographs, a medium which she conquered with ease. Having reached a mature and distinctive style she continued to use traditional black and vermillion sumi (ink) in her paintings composed of thick and thin elegant brushstrokes often adorned with calligraphy on a surface of canvas, paper or silver leaf.

Shinoda claimed the varying juxtaposed brushstrokes represent the diversity of her character, expressing both her tender and dynamic elements. Open to personal interpretation her work is a lyrical inspiration to many giving it a wide global appeal.

For more about the artist visit our website http://japanesescreens.com

Faint

Signed Toko Shinoda, titled, numbered 24/35 and dated (20)02, embossed stamp

printed by K Kimura to lower left Lithograph on paper, framed and glazed

H. 28cm x W. 38cm (11” x 15”)

approx.

Price: 4.500 euros

aRtWORk PReSented By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Suda kokuta

Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. He is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushi-ji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

In 1949, he met Hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with Hasegawa, Suda realised the essence of Zen is abstract and shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

In 1955, Suda was invited by Yoshihara Jiro (1905-1972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara

and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA.

In the 1970s, Suda returned to figurative representation but this time a trace of abstraction remained on his canvas. He enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory. By this time, he was also practicing calligraphy and expressed philosophical words in ink with dynamic lines full of vitality. His obsession for the quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avant-garde calligrapher Inoue Yuichi (19161985) likened Suda to the old masters Hakuin (1685-1768) and Tessai (1836-1924), both renowned as calligraphers as well as painters. Throughout his life, he pursued his own art, continuously achieving breakthroughs in his creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http://japanesescreens.com.

untitled

Signed Koku to lower right; signed and dated 1961 on the reverse Oil on canvas

H. 65.5cm x W. 53.5cm (26” x 21¼”)

Provenance:

Private collection, Japan

Price: 22.000 euros

aRtWORk PReSented By:

Gregg Baker Asian Art

T.: +32 468 00 56 85

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Sueyon yang 10 immortals deluge

Sueyon Yang (b. 1988 ) is an artist who resides between her native home of Seoul, Korea as well as Hong Kong. Her body of work is inspired by humanity’s anxieties towards death and the forlorn pursuit of achieving immortality. She approaches this complex theme through the lens of traditional Korean painting and symbolism, which she specifically studied at the Seoul National University in Korea, graduating with both her Bachelors (2011) and Masters of Fine Arts (2014). Her traditional artistic background creates the framework to produce visually captivating works which grapple with the unpredictability and lack of control of human longevity. This is further emphasized by the use of traditional motifs, such as using particular flora and fauna which carry specific meaning in traditional Korean art, though they are presented in a manner which creates a sense of modern emotional expression. Her paintings invite the viewer into a visual reflection of humanity’s collective fears. She has had multiple group and solo exhibitions around the world, including a nomination for the ‘Ashurst Emerging Artist Prize’ in London (2021). She most recently completed a DFA course for Korean traditional painting from Seoul National University, with her works continuously being showcased in various shows, institutions, and art competitions.

Sueyon Yang's piece "The Ten ImmortalsDeluge" intricately explores humanity's struggle with mortality and the desire to avoid this fate. She depicts this complexity through a skillfully crafted landscape and the use of Sip jang-seangdo, subtly manipulated for deeper meaning. In the context of Korean culture, ownership of a Sip-jang-sean-do painting is thought to prolong life. Such artwork includes the ten symbols of immortality including motifs such as the moon, sun, trees, clouds, and water, all of which are present in the image. However, Sueyon Yang intentionally rearranges these symbols to show conflict. In the composition, water, traditionally a symbol of longevity, becomes forceful waves overtaking trees and mountains. The solar eclipse similarly highlights the contrast between the sun and moon, representing opposing forces and the emotional gravity of humanity's anxiety and struggle against death. Yang's clever use of these symbols prompts the viewer to reflect upon mortals’ fruitless aspiration towards everlasting life.

The Ten Immortals- Deluge

2020 Ink on Korean paper

Framed on scroll

46 3/4 x 33 in. (199 x 84 cm)

Price on request

aRtWORk PReSented By:

H. Edward Gallery

T.: +1 (646) 753-2819

E.: hedwardgallery@gmail.com

W.: www.hedwardgallery.com

tsherin Sherpa

Tsherin Sherpa (b. 1968) is a Nepalese artist who currently resides between California and Kathmandu. The foundation of his style stems from traditional Tibetan thangka painting, taught to him by his father. After immigrating to California in 1998, he began experimenting with his art by placing his traditional tantric style into a contemporary framework. His various mediums of works incorporate traditional motifs, colors, and symbolism which are repositioned into modern context, including composition as well as subject matter. His style reveals a parallel narrative to his own life experiences, as Tsherin Sherpa begins to incorporate different aesthetics, themes, and subject matter which reflect various cultures and time periods which he has witnessed. While there is a clear emphasis on Sherpa's personal and artistic routes, viewers glimpsing at Sherpa's various works are able to indulge and empathize with his exploration of visual and cultural experimentation, allowing one to develop their own unique take on his work. Tsherin's work has been exhibited globally as well as being showcased by prestigious institutions, including representing Nepal at the 2022 Venice Biennale, as well as a recent solo exhibition at the Virginia Museum of Fine Art.

Influenced by Himalayan deities and his grandmother’s stories of spirits, Tsherin Sherpa's "Skippers (Knee-Deep)" fiberglass sculpture embodies transformation through diverse life experiences and cultures. Upon first glance, it exudes a traditional Himalayan spirit, using gold leaf on the hands and head, alongside traditional iconography in the crown. While maintaining a rooted connection, Tsherin employs abstraction for personal expression. The acrylic-painted body is adorned with a vibrant, abstract design. Closer inspection reveals a clever collection of distorted imagery—spirits' faces, feet, and snakes—providing a challenge to conventional norms. Tsherin intentionally warps traditional elements, inviting modern, subjective analysis from viewers. Contemporary touches like the deliberate inclusion of bubblegum allude to a sense of frivolity. These modern influences convey the artist’s embrace of personal encounters and his transformation of them into artistic exploration.

Skippers (Knee-Deep)

2022

4/7 limited edition Gold leaf, ink, acrylic on fiberglass

39 1/4 × 22 × 14 in.

(99.7 × 55.88 × 35.56 cm)

Price on request

aRtWORk PReSented By:

H. Edward Gallery

T.: +1 (646) 753-2819

E.: hedwardgallery@gmail.com

W.: www.hedwardgallery.com

Contemplation

2015 Gold leaf, acrylic, and ink on cotton

Framed

48 x 38 in. (122 x 98.5 cm)

Price on request

aRtWORk PReSented By:

H. Edward Gallery

T.: +1 (646) 753-2819

E.: hedwardgallery@gmail.com

W.: www.hedwardgallery.com

Tsherin Sherpa's "Contemplation" presents a striking portrait of a spirit-figure seamlessly woven into contemporary culture. Evoking traditional Himalayan deities, the figure's vibrant purple head, hands, and feet adorned with classic motifs contrast against a backdrop of gold leaf. Yet, its body is an amalgamation of cartoon style figures drawn from modern pop culture, a reflection of the artist's diverse influences and personal experiences. Bridging traditional thangka artistry with pop culture elements, the composition breaks free from conventions, embodying Sherpa's evolution and passions. This fusion serves as a testament to the lasting impact of multicultural encounters and a reminder of the perpetual transformation inherent in the human experience.

Waseem ahmed

Waseem Ahmed (b. 1976) is a Pakistani artist from Hyderabad, and is renowned as one of the country's leading artists in the field of contemporary miniature paintings. His distinct style uses traditional Mughal aesthetics and techniques while being placed in a contemporary context, often addressing socio-political themes. Ahmed's work comprises drawing, gouache, pigments, and gold leaf on Wasli paper, creating vibrant compositions. Although he approaches his art with a traditional framework observed in miniature paintings, Waseem incorporates his own subject matter and themes into his body of work. The content of his artwork consists of inventive, recurring subjects, often inspired by mythological and contemporary figures of both Eastern and Western influence. His use of flora and calligraphy are other signature elements that distinguish his style. His work has been widely celebrated both in Pakistan and globally, with multiple solo and international shows. He currently works and resides in Lahore, where he teaches miniature painting as well as continues to produce his own, innovative work.

Waseem Ahmed was inspired by the sculpture, "The Driller in 1901", by Charles Henry Niehaus. The artist utilizes the image to explore his perspective on current socio-political events worldwide, emphasizing the struggles of the common man who tirelessly digs and digs, only to encounter chaos. Through the use of freely painted black pigment, he aims to visually represent this sense of disorder. Additionally, the calligraphy presented in the painting consists of characters from the Urdu alphabet, however it intentionally renders it incomprehensible to the viewer, as it has no grammatical meaning. This serves as a metaphor for the language barriers that exist, where the Arabic and Persian alphabets may appear similar, they are ultimately unique from one another. Thus, the underlying concept of the deliberate writing in the painting conveys society’s attempts to comprehend the world’s situation, and while everyone is expressing their own opinions, there is ultimately a lack of true understanding.

untitled

2023

Dry pigment, color, and silver leaf on archival handmade

Wasli paper

Framed

27.7 x 22 in. (70.5 x 55.8 cm)

Price on request

aRtWORk PReSented By:

H. Edward Gallery

T.: +1 (646) 753-2819

E.: hedwardgallery@gmail.com

W.: www.hedwardgallery.com