‘I have to tell you a story’ by Amna Rahman and Numair A Abbasi opens January 23rd and will continue till February 1, 2018 at Sanat Gallery.
Statement issued by the Gallery-
Amna Rahman was born in 1993 in Lahore, Pakistan. Her schooling was completed in Karachi. After graduating from The Lyceum School, Rahman received her BFA from National College of Arts Lahore in 2017 (passed with distinction in Painting). She is currently working as a visual artist in Karachi. Her works have been featured in several group exhibitions, including ‘Department Store’ at Sanat Gallery, Karachi (2017), ‘Microcosm’ (curated by Adeel uz Zafar) at Gandhara Art Space, Karachi (2017) and UglyPretty (curated by Aziz Sohail) at Taseer Art Gallery, Lahore (2017).
Numair A. Abbasi is an emerging artist, freelance writer and photographer who completed his BFA with a distinction from the Indus Valley School of Art and Architecture, Karachi in 2014. Formally trained in sculpture and photography, Abbasi finds the play of fabric and the male human body most reciprocating. Consequentially, he coalesces the two domains and fabricates narratives that stage a personal or social discourse – often arisen from anecdotes either experienced or witnessed. Abbasi further critiques the politics behind social gender constructs while also attempting to burst the myopic perception towards the canon of male nudes. He has also attained diplomas in the French language awarded by the French Ministry of Education. Abbasi is currently practicing full time as a visual artist and reviews art exhibitions for various publications.
In “I have to tell you a story”, Abbasi’s practice has evolved into an anonymous figure, juxtaposed in acts of sex, as well as intimacies that always remain haunting and limited. He uses text to further evolve and pierce through the minds of his protagonists, in order to allow the viewer access further into the stories he wishes to tell. Rahman’s figures similarly embody moments before or after intimacies, in almost voyeuristic ways. Whereas in the past she has focused more on loneliness in the presence of the singular, here the multiplicity of the figures denotes sexual but not emotional encounter. The gaze still haunts the viewer due to its pain and longing.