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Under Line

A drawing show by ten faculty members of the various institution have come together with drawings in their very own style and concept. It is a melting pot of ideas that underline what these artists wish to Impart to their students. It is very inspiring to read the statements by the participating artist s, as it foretells the development of the art scene in the foreseeable future. Shakira Masood Opening Reception: Tuesday 16th October 2018, 5:00 – 8:00 pm Exhibition Continues till 25th October 2018 Gallery hours 11am – 7pm, Mon – Sat (Sunday closed).

 

Abdul Malik Channa: Art lovers are a true source of motivation for an artist to create and produce artwork. I love and enjoy their expressions, indulgence and the gesture of love for art when they visit an art gallery. For me “The Art lovers and admirers are as important as Art itself” My work is a tribute to the respected art lovers, admirers and supporters of the artists.

 

 

Ayesha Naveed: My artwork emulates my trepidations of those in my immediate space, extended environment and in my life. The current images stem from my interest, concern and confusion on the state of affairs of the country. The pre-election period triggered a number of questions pertaining to existing issues prevalent in and of the society, its inhabitants and most importantly the country as a whole. Individuals shaping and creating history thus leading to defining moments in time. In a sense the work offers a tribute, acknowledges changing systems and structures in hope of a better future. The usage and play of material is another important facet of the work. How tactile surfaces behave and react with one another to give meaning to work. It is this combination that excites me and propels ideas and notions.

 

 

Danish Ahmed: “The transformation of human society is not aimed at an eventual recognition of a larger order but ultimately at the subjugation of nature to a design freely created by man”1 – Charles Taylor The ‘cuboid’ series is work in progress – an extension of the ongoing narrative rooted within my practice. It seems nature is receding from being a vital part of our life, or perhaps forced into confinement in order to be replaced by the material world man has created for his own consumption. I turn to charcoal after many years to employ the flexibility and versatility of the medium. Moving away from my conventional and linear approach to drawing I smudge, erase, mask and smear in order to construct the desired forms.

 

 

Khalid Soomro: My art practice is based on creating dialogues between my work and society with which I communicate. Therefore ‘Art is a Dialogue’ is a phrase that always revolves in my mind.In this series of my drawings under-line, I am re-constructing the historical sculptures and images, which depict current time and conditions because history repeats itself in different paradigms. As situations and their conditions change, but the content remains the same; followers still preaching and practice in their boundaries and lives.Therefore I am re-investigating the meaning of beliefs, and in addition to generate a dialogue between past and present as I have not changed these visuals which I chose for my reference.

 

 

Munawar Ali Syed Photography is an immediate reaction, drawing is a meditation. Henri Cartier Yes for me my drawing process is therapy and meditation. These drawings are my response to how our originalself collides with the nature of relationship we have with contemporary education and result in this urban materialistic life. It examines the ever growing tension between urban and natural environment under which life always finds its ways to exist. Our life seems to be muddling between two extreme poles of existence. The shimmery materialistic life seduces on the one hand while our body and soul demands to be in unification with nature. I am interested in looking for spaces where these opposite forces collide and intersect. This is the very place where we reside as urban creatures, always battling to coexist in this tension.

 

 

Raheela Abro: Round objects have been taken as the core of these drawings because the roundness hides the initiating and culminating points which metaphorically signify the keep rolling of a life cycle as per spherecity do not indicate the ends.

 

 

Shazia Qureshi: I record my feelings and emotions about my surroundings through lines, marks, tone, texture and spaces which reflect illusion of life. Drawing needs a control for dealing with both, medium and expression, and provides opportunity for self-exploration. I am fascinated with fluid mediums such as water colours, tea wash and inks. For me they actively portray life as they defy the control required in the drawing process, exactly like life defies all norms and presets.

 

 

Sheema Khan: Drawing is the core method of researching, investigating, developing and communicating ideas. In recent body of works, I mainly focus on observational drawing by simply looking at the subject and drawing it,and you can see the process of representing 3d object in 2d surface.

 

 

S M Raza: “Do you know how there are moments when the world moves so slowly you can feel your bones shifting, your mind tumbling? When you think that no matter what happens to you for the rest of your life, you will remember every last detail of that one minute forever?

 

 

Yasmeen Salman: The semiotics of my work has always been informed by my environment, experiences, relationships, memories and reflections. Fragments of nostalgia, desire, distress, disappointment, euphoria, realization, awakening and self-actualization are woven together to unfold a personal narration. The aesthetics of the iconography is eclectic and personal, almost like a hybrid language – my language. The present work has evolved over the last few years – layers of experiences, reflections and realizations, enriching the surface, giving it the patina of intimacy and age. I have taken previous works and reworked the context and imagery, imbuing it with current concerns and query, and evaluating and reflecting on past beliefs and philosophy. Vestige of the past imagery on the surface provides insight to the process of layering and maturation of the iconography. Various processes and techniques – graphite, colour pencils, watercolour, gilding, pastiche, tea/coffee staining and gouache – have been used. Collaborations with my children and friends in some of the drawings have added an enriched and diverse perspective and dimension to the work, extending the language from the intrapersonal to interpersonal.

 

 

 

 

 

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