ANILA QUAYYUM AGHA

Ik lees in de kranten en zie op de televisie de vreselijke toestand in Houston en bedenk dan dat ik niet al te lang geleden een fantastische foto heb gezien over een tentoonstelling in Houston. De hersenpan heeft soms zeer onverwachtse kronkels. In elk geval, de tentoonstelling ging over de geometrische sculpturen die de Pakistaand-Amerikaanse kunstenares Anila Quayyum Afgha, die een ongeëvenaard effect achterlaten op de muren van de tentoonstellingszalen. Hiernaast hiervan een klein fotootje, hieronder een grote afbeelding en kijk ook op deze link.

Anila Quayyum Agha
Anila Quayyum Agha was born in Lahore, Pakistan. She has an MFA in Fiber Arts from the University of North Texas. Agha’s work has been exhibited in over seventeen solo shows and fifty group shows and has won numerous awards and grants. Most recently, Agha won the two top prizes at ArtPrize 2014, in the international art competition held in Grand Rapids, Michigan. Her entry, titled “Intersections”, earned the ArtPrize 2014 Public Vote Grand Prize and split the Juried Grand Prize in a tie. Agha works in a cross disciplinary fashion with mixed media; creating artwork that explores global politics, cultural multiplicity, mass media, and social and gender roles in our current cultural and global scenario. As a result her artwork is conceptually challenging, producing complicated weaves of thought, artistic action and social experience. (van
Anila’s website)

Rice Art Gallery, Houston

Using a single light suspend-ed from the ceiling to shine through a laser-cut sculpture in wood that is painted black, Pakistani-American artist Anila Quayyum Agha transforms the Rice Art Gallery in Houston into an allusion to Islamic sacred spaces where geometric ornamentation and patterns themselves allude to the infinity of creation. The artwork was inspired, Agha says, by her visit to the Alhambra in Granada, Spain, where the Nasrid palace’s all-encompassing beauty of interlacing designs prompted re-flection upon her own childhood in Lahore, Pakistan, where culture barred her and other women from the creativity and community of the mosque—an experience she says led to “complex expressions of both wonder and the feelings of exclusion.” Working from these contradictory emotions, Intersections creates a contemplative space, open to all, that repeats a symmetrical pattern she designed by combining and adapting decorative elements of the Alhambra. As the geometry becomes shadows, it covers not only surfaces, but visitors them-selves, dissolving boundaries and allowing the pattern itself to change with each movement. In 2014 Intersections won Art-Prize’s Public Vote Grand Prize and split its Juried Grand Prize. (van Aramcoworld)

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