In a one page definition Art and culture.

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ن۔o Pakistani artists deserve monographs like Mehr Afroz. Not only because he is one of the prominent names in Pakistani art, but also because his work is very much embedded. BookA As such, a book on his art is a much-awaited tribute, made possible by Le Tropical Pvt. A beautiful disappointment: the art and life of Mehr Afroz, Published in 2020.

A book, or rather a page, is necessary in the art of sealing for a number of reasons. Immediately has his background as a print maker (Romela Cream sheds light on her text, between metal and paper: the work of a master print maker). Early in his career in Pakistan, Mehr Afroz, primarily known as a print maker, won awards in the 1977-1985 category at national exhibitions in Islamabad. To some, this aspect of her art practice may seem like a trivial detail, but her initial exposure to the process was instrumental in shaping her aesthetics.

Printmaking, especially painting, requires the artist to change the surface of the metal using tools and acids. In the end, what you get is a piece of paper – the ink impression of this metal sheet. Along with the desired material and subject matter, the quality of the surface – made possible by flares, acid immersion, made possible by pressure from the printing press – contributes to the image. In some instances, Of Image. Thus, paper, with its withered and dilapidated appearance, became an important and desirable image entity for Afroz. In her article, Be: Longing, Swetha Apte commented that printmaking, “where recent formulations are laminated, faded or partially erased, is also interpreted as a gradual metaphor of the seal.” However, meeting a new national identity with an open heart.

In addition to national identity, the technique may have contributed to the search for its lost past. More than personal, it is a cultural and religious heritage. He writes about the recitation of the Apte. Marcia And سوز In these literary forms during Muharram in Lucknow, a devotee remembers, and recalls, the martyrdom of Imam Hussain (whom Allah was pleased with) and his family fourteen hundred years ago. A great contemporary reader succeeds in creating a historical event in the minds of his audience through his choice of words and control of his voice.

This experience is reflected in Muharram’s longing to regain Afroz’s past. To begin with the Indus Valley Civilization script with its prints, it later incorporates elements of a collective memory, grief and emotion – echoes of Iqbal’s line: The search for all the whispers lost..

Mehr Afroz revives the past in her photographs and captions. Prison (Prison) and Captive (Captive) who can refer to the female members of Imam Hussein’s family / camp (whom Allah was pleased with) who were imprisoned after the massacre in Karbala. In addition to suggesting the plight of human beings in the current situation, Zahra Hamdani Mirza has described it in detail in her article A Fire in the Moonlight: It shines in its style, rhetoric and grandeur. Its burnt works emerge in metal, silver and gold. Alams “.

There are visual connections with Shia iconography, but more than that, its preference is metaphors of dark colors, stained surfaces, cuts, scrapes, incisions, perforations (reminiscent of print or plate), painful pasts and equally traumatic situations. Works as . Like words on a page, which are just lines, but in seal creations, people, objects, ideas, events – shapes, symbols, and textures make sense.

Her imagery and strong sensitivity reinforce her fears. Shirt, coat and cloak, with human form / ghost, without its presence, body and features (پوشک۔ Series), are what Anoli Pereira called in his text, A Palimpsest’s Quest, “a ‘disadvantage’ brought with the displacement of space … according to Pereira,”پوشک۔ It reminds us of the outer skin we adorn ourselves with, to survive in a competitive world that becomes a futile exercise when everything is rotting inside.

Most of us who have known the seal for decades do not come as activists who take part in rallies and movements. Instead, she works her way up to comment on the seriousness of her situation. Its canvas with bows and arrows. I am Hazara II.Refers to the sectarian killings of thousands of Shiites in the Islamic Republic. Another job. Honor killing.In Pereira’s words, “it reminds us of the violence and barbarism in society in the name of family, religion and race.” In these and other works, they form similar words. Tolerance(Tolerance), Amen (Peace) and Amal (Action) in visions.

Language comes to him like a natural calamity, not only the written script, but also the language of matter is the best in the hands of Mehr Afroz. He has turned his mood for printmaking into a personal idiom, as the process itself is about the remnants of the past. A print is an image after the initial plate, so viewing the work created in this way is a contract with memory. Mehr Afroz, in his work, not only the formal beauty, but also the region’s pictorial tradition, narrative culture, and religious past that still exists – for most of us. In her recent pieces, she has been using paper, fabric and more. Non art Materials that create visuals that look minimal in appearance, but have complexity in their construction and meaning. Geometry is another element that regularly emerges in its fragments.

A popular trend among art historians, critics, and the general public is to include the creative person in a set of maps, ideas, and engravings. And once it is established, it sorts out every work of the individual within this framework, realizing that artists are free spirits so that with each new encounter with their creations we get a new twist on their artistic self. Or look at the direction. An interesting and useful feature of the monograph is that each contributor highlights a different aspect of the artist’s personality and art. With the writings of famous authors such as Fehmida Riaz and Saleema Hashmi, a book reader begins to create his own portrait of the artist. Maybe a portrait made with oil – called Orhan Pamuk. Hozon (Grief), not private but faith and politics, are intertwined. Artist (as Umra Ali refers in his article A Sanctuary of Sacrifice) [Urdu] Mohsin Naqvi’s verse: “I was wondering what would be the cure for sadness.” In the case of Mehr Afroz A beautiful disappointment..


The author is a Lahore-based art critic.



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