A.The actor of popular Punjabi stage drama regularly satirizes because of his dark complexion, but he is restless. He makes it clear to others that all colors can be dyed black, except black, which remains unchanged, thus prevailing – a common observation that every robber, dyer and home decorator makes. However, most of us have a laid back attitude when it comes to painting a picture about black. There was once a student from an African country at the National College of Arts (NCA), whose skin was so black, it looked dark blue, so the blue illustrates the image of the god Krishna. Because the human race is divided into white, yellow, red (Indian), brown and black – but not blue, green or turquoise.
What the little artist understood was the same truth that struck many other artists, including Joseph Alborz, who felt that color changes its quality. Power, shade and color depend on a few factors: size, background, light, other reflected colors, and our theory (point). For artists, colors are not just ideas, they are paints, and they treat colors with authors.
Whether reflected, dim, in the shade, brilliant, dim or dim, colors are always controversial. Like Louis Armstrong’s song ‘You like tomatoes and i like tomatoes / you like potatoes and i like potatoes’Every human being sees color in a different tone. Your orange can be red, or yellow for me. But in some situations, time and light, along with the theoretical impulses of things, our understanding of color extends to religious, linguistic, political, economic and scientific connections. Not only do the colors have a lot of visual variations, they have hidden histories in terms of their discovery, processing, transportation, price and utility. All the things we hardly ever register or remember when we squeeze a paint tube, open a color jar, or choose a switch from Photoshop.
Hamra Abbas inquires, investigates and discovers many of the past, functions, meanings and symbols of colors. His work, due to intense research, takes a different turn in his path. In his art, color is physical, in many senses of the word. Its material composition is as important as its shade. Color is not a name on a chart, but a living (read light) substance that moves, breathes, pulses, merges and metamorphoses. In his work, the passage of paint – in the form of stone slabs, or perspective sheets – expresses our reality, imagination and perceptions, both personal and public.
Abbas is exploring the nature of color and light as color from his MA (Hons) Visual Arts in the NCA, especially in the Gooch series on Wesley, In this lesson you will learn how things reflect at different times. (2001) – A marble fountain that was introduced at changing times of the day. Later, with. Image of Kaaba as incorrect image (2014), this pursuit took a great direction, as it focused on the relationship between color and its religious affiliation. Christian art is widely practiced and found in art and architecture developed by Muslim societies.
The example of Hamra Abbas is important – an artist who does not rely on desires, possibilities or accidents. He has consulted with color counselors (including Goethe). Theory of colors), Historical Manicure, has documented the rock roots of Mughal buildings in Lahore. Studied the works of modern masters such as Kazmir Maliyevich, Joseph Alborz and Sol Levitt. So, he did something that has deep roots in the history of ideas and art – and is original, interesting and extraordinary. Her work (from her current solo exhibition, Color wheel, September 21-30, 2021, Canvas Gallery Karachi) Confirms how a modern artist draws references from the past, and turns them into something new. Originality is not ‘discovery’, but ‘greatness’ is at the level that one’s creative output offers a new and lasting perspective on our effort and tired reality.
Hamra Abbas inquires, investigates and discovers many of the past, functions, meanings and symbols of colors. His work, due to intense research, takes a different turn in his path. The color in his art is physical..
There are two, if not three, different characters in Abbas’s work. Showing its meaning as a cultural and historical symbol makes an audience more than its physical presence and integration and losing its identity makes another color. David Scott Caston and Stephen Forthing in their book. On colorDiscuss the nature of color, ie the frequency of electromagnetic energy, matter, sensation received through the eyes, sensation in the mind and / or cultural constructs. Abbas has dealt with all these interpretations of color in a creative way. In his sculptures, color emerges as light, enters the viewer’s eyes, captures their mind, and opens up cultural contexts. But on the physical surface, the translucent parts of the plexiglass with the LED lights appear to intertwine and form multiple shades آ eventually a black circle, square, 12-sided polygon, a 6-petalled flower in the center.
in this Color wheel Series 1 to 5, other colors are created by overlapping three basic colors (cyan, magenta, yellow), which do not really exist. The work bridges the gap between what is real and what is pure optical.
As we distinguish between countless and nameless colors in our surroundings – “some scientists maintain more than 17 million” – their sources add another layer to the colors of their meaning. Abbas, in another part of the work, chooses stones that identify historical and cultural threads with their colors and shapes. In his two statues, triangles of different dimensions are joined to form a circle or another large triangle, which contains different types of stones, viz. Marble, jasper, calcite, serpentine and lapis lazuli. If one reads the history of color, it presents facts about trade, cultural interaction, political alliances, power structures and exploitation. Colors do not only represent a particular color, their names also remind us of the abundance of historical, social and economic references. For example, the term indigo comes from a Greek word meaning ‘from India’. Prussian Blue, Raw and Brent Siana bring Prussia and Cena to mind. Orange is derived from the Sanskrit word for fruit, Orange. Similarly, the origin of the stones in Abbas’s work explains the global exchange.
Rocks, if they can travel from one area to another, also have the ability to cross landmarks. The work was done entirely by artists / craftsmen who illuminated the landscapes of heaven. Especially one from the mirror palace of Lahore Fort, in which a tree is divided into seven colors of the rainbow. Abbas furthered this idea in his work. Garden of Paradise 3.. The tree, Cyprus (which stands on the edge of paradise) is divided into seven types / colors – close to each other, ground tree, growing in twisted directions, branches laden with blue (lapis lazuli) fruit. The image represents a conversation between two worlds. A symmetrical tree in front of an irregular tree. The meeting of heaven and earth.
One might wonder about other meeting places. Consider the selection of Abbas’s quotations from Joseph Alborz and Soliwatt in one place, and from the historical architecture of the sky and the trees of Lahore. Where, when and how do these two different things speak? In fact, they communicate in the DNA of every person living in an age where the past and the present, the division of the West and the East, even religious and secular, are of paramount importance. This is because anyone is interacting with diversity – externally and internally – at every stage, occasion and moment.
In Abbas, the boundaries of East and West, old and new, private and public, disappear. The connection of Joseph Alborz from Lahore to Petra Dora Stone is ‘amazing’. In the case of the formal, American painter who strived for the ideal visual structure and with reference to the sculptures on the imaginary, historical walls that reflect the sky, the perfect place.
If God is in detail, then perhaps divinity is in perfection. The art of Hamra Abbas has also been perfected as she repeatedly creates ‘rainbows’.
The author is a Lahore-based art critic.