Happiness in boredom | Art and culture.

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“I only write for my shadow which is put on the wall in front of the light. I should introduce myself to it.” Honest guidance.

F.Or all their obvious differences, what works by the show’s three artists, namely Abida Dahri, Suleiman Arshad and Tahira Noorin: MusicThe common denominator in the A Art Space in Lahore is that each of them has an abundance of elements, which, on reflection, create an abundance of mutual relations.

In general, the works of the three artists are not self-referenced, nor are they examples of solid art that, by definition, do not represent anything other than themselves. ‘Drawings’ are complex because they are as sophisticated as they reflect some of the many facets of reality.

Tahira Noorin uses the universal language of abstraction to capture the human tendency to adapt reality to human structures and systems in order to capture what cannot be captured otherwise. In his ‘drawings’, the artist uses lines as a framework for his geometric explanations. By allowing anomalies and deviations within this strict order, it acknowledges the ever-present and unexpected wonder that makes lives beyond our comprehension.

In this exercise, the artist demonstrates how we follow the powerful ways of life through the guidance of intelligent systems, preventing the chaos that actually exists. In its aesthetics, the lines symbolize the signs we have, trying to adjust and find our place, allocating time and space evenly.

Noreen works systematically in classes, or rather pieces, the drawing element of the line, mostly in large format. With the help of a sharp cutter – like a scalpel – it penetrates deep into the flesh. Weapons, To reconcile the presence and absence of substance detection. The main element of his drawing leaves out the classic work of the line, which is to describe a form. It is the positioning of a wide array of marks that often intersect and meet.

Noreen’s lack of seriousness towards Green can be seen as a structure. I am not a machine., A suite of 30 small square ‘drawings’ on paper, which plays with line and shape, transparency and opacity, flatness and depth, layout and error, and pattern and noise. In these drawings, the lines suggest a strengthening of the image plane and a recession of a point of view in space. Similarly, simple geometric shapes claim to be flattened when they become obscure but some look fugitive, when they float clearly through fields of parallel but separate lines, introducing spaces into the image plane. Let’s do it. Noreen uses these visual and spatial effects dialectically to create meditation and minimal composition.

Although unshakable, Noreen’s composition is never accidental, and shapes and strategies are repeated between tasks, as she tests them in different configurations and combinations. In some of these drawings, the grid acts as a support. Noreen then covers it with lines, marks and shapes that deliberately exceed the strict limits of individual units, disrupting the exact order. What makes his drawing compelling and disturbing is that these obstacles are rarely frivolous or expressive. In contrast, they consist of careful rule lines and simple geometric shapes. They speak a grid-like language but tease its syntax and grammar. They are positioned in a way that is creative, not ideological, which is lively and poetic, which creates new and unexpected meanings. While resisting the tyranny of the grid, the drawing creates space for expression in its structure, allowing it and us to remember, feel, imagine, breathe and dream of the day. Or screen, as a support or separation structure against the order.

Abida Dahri does not limit her experiences to two dimensions with line and space. She also uses masking tape to draw in space, creating stunning layouts that often refer to architecture. However, its interest in our responses to such statements of space is beyond the purely phenomenon to include effect, emotion, and memory. Its fragments explore how memories can accumulate around a structure and how architecture can evoke a powerful emotional response, its transparency emphasizing the frustrating nature of both memory and emotion. Her current show turns those interests into a more intimate, domestic register. Transforming the surface as a screen or permeable membrane by viewing rather than a solid barrier, eliminating local differences between the drawing indicator distribution, in and out, or between here and there. Playing with the concepts of opacity and transparency, access and solitude, it seeks to create an open haven, a wall for daydreams that does not completely retreat from the world. Using only the most basic material, the artist usually adopts and improves the unexpected and unusual practice, resulting in dynamic artworks of great complexity.

Happiness in boredom. EH points to an article by Gombrech, in which the art historian examines the psychology behind the doodling process and discovers its artistic potential and relevance. Dahri suggests that not only is the process an unconscious continuity, which we are naturally forced to do in a dream-like, non-mental state, but its importance lies in the fact that it is an important means of uninterrupted expression. ۔ A way in which countless artists and writers have practiced and refined their craft.

As an extension of this series, the artist uses masking tape, similar to Macrum’s textile noting technique. Using the colorful ‘yarn’ as a second vehicle to experiment with doodling, she takes the concept in a serious direction. In this example, the artist rejects the standard guidance of a pattern, and instead allows the form of the work to be produced organically, resulting in random, irregular, and amoeba-like shapes.

Unconsciously, the universal process of experimental drawing lends itself to creativity and innovation. With its own entry, Dahri’s exams in the area have not yet reached their peak and as they continue to search for endless changes in this applicable form, they are still looking for new and unexpected ways. While the overall play often produces a series of animated, completely indeterminate cloudy shapes that are still a light and transparent ventilated fabric in places with high density of marks. Sounds like

In Suleiman Arshad’s work, the basic material appears as a white, slightly translucent, blandly thin and yet strong paper, whose small and visual features have a strong aesthetic appeal to the artist. The tendency to increase regularity and uniformity in the formation of surface structures manifests itself in iconic objects. In this type of work, pieces of paper are cut like flowers or vice versa like bullets Weapons. The actual structure of the work, bringing out the shape of the image, is such that the surfaces that separate from each other are made of different shaded paper. What’s basically here is a mosaic-like technique, albeit with very different materials.

What Arshad is concerned about is the tension and interaction between the supporting material and the actual work, which is determined by its composition and coloring. Here, too, an evolution over time becomes more regular. This is also due to the fact that the first visual objects of this type, despite the very time-consuming way of working, and the impression of harmony, are basically minimally structural, That is, Very little in the use of colors and shapes.

In some untitled examples, the lines between adjacent different colored areas emphasize that the support height of the fields varies slightly, which is important. Then there are tasks in which individual fields or shapes are left blank, That is, Not covered with paper flowers. The career is visible here. It should also be noted that Arshad’s style is geometrically constructive, with a few exceptions, with a very high value placed on balance. Circles and squares create patterns within which the artist develops his language. Solid individual shapes are often drawn from classical, geometric ornament forms Trifol And quatrefoilGothic column markings, floor patterns keyboard shapes, spiral, star, maze or even Mandalays, Chinese symbols of luck and Mughal. جالی. Occasionally, work draws on architectural drawings or sacred architectural floor plans. Achieving the dimensions, layout and balance that appears in such projects fulfills and influences the artist’s ideas and manifests itself in concrete drawing forms.


The author is an art critic based in Islamabad.



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