Khaleej Modern: Pioneers and Collectives in the Arabian Peninsula

How did art evolve in the Arabian Peninsula? What was the journey like? Who were the architects of this evolving art world? What started the different movements and where has it reached? This exhibition is a treatise, a study of these queries.

Recently I had the opportunity to attend the Preview of Khaleej Modern: Pioneers and Collectives in the Arabian Peninsula. Thanks to Arte & Lusso, the online magazine and Slava Noor, the Editor of the magazine. I must say that this is definitely a landmark exhibition with some rare and never before seen works of prominent artists from the West Asian region. It surveys the emergence of modern art in the Arabian Gulf featuring 57 artworks from the early and mid-20th century through 2007. The exhibition includes works from Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates, a region collectively known in Arabic as the “Khaleej.”

The Exhibition that opened on 6 September at the New York University Abu Dhabi (NYUAD) Art Gallery is definitely one of a kind in recent times that explores, examines and expands our horizons in relation to the visual arts of the Arabian Gulf. Dr. Aisha Stoby with Assistant curator, Tala Nassar from the NYUAD Art Gallery and the Chief Curator of NYUAD, Maya Allison have achieved formidable feet with this path-breaking exhibition. It is curated by Dr. Aisha Stoby, who helmed the inaugural Oman Pavilion at the Venice Biennale this year.

The exhibition is based on Dr.Aisha Stoby’s Ph.D. research that commenced in 2015 as she traces and maps the evolution as well as the history of art through prominent pioneers and collectives, their definitive movements in the region’s visual art history basically the emergence of the art scene in the Arabian Peninsula. It’s extremely interesting to note that this young researcher and curator has already spent some valuable years in the study and outlining the development of almost a century. She points out the influx of teachers travelling to the region and students studying abroad which brought in a novel perception and consideration. Some of the works are on view for the first time.

Installation view of Khaleej Modern: Pioneers and Collectives in the Arabian Peninsula. “Early Pioneers” and “The Landscape” sections. Photo: John Varghese

Maya Allison- Chief Curator of NYUAD Art Gallery, Dr.Aisha Stoby and Tala Nassar - Asst.Curator

Khaleej Modern documents the shift and journey of new art theories, diverse media and curatorial framework. The backdrop of the practice was changing socio-political tendencies and contexts, extreme industrial growth and modernization. The term “modern” however takes a different affinity from European Modernism in the context of the Arabian Gulf.

The layout of the exhibition is in four segments – Early Pioneers, Landscapes, Self-Representation and Portraiture, and The Conceptual Turn. Each section is crisp yet flows gradually into the next. It starts with the artists using traditional methods from the 1940s to 2007. It’s an ongoing conversation of tradition and modernity. It involves making art as well as contextualizing it. Dr. Stoby clarifies that ‘Pioneers’ are not only artists but also include founders, gallerists, mentors, teachers and collectives where these pioneers practiced.

The Four Segments:

Early Pioneers

This section has one of the oldest paintings in the exhibition obviously. It is a portrait by Mojid Al Dosari, one of the pioneers from Kuwait who went on to study at Al Mubarakiya School. Artists in this era include Ibrahim Ismail whose work is the chosen poster image that is quite experimental and encapsulates tradition and modernity beautifully. Another work portrays an atelier where the artist presents himself painting a model and one can see the European influence and a cosmopolitan outlook present there. Mohammed Racim, one of the Turkish artists who held an exhibition in Jeddah was believed to be funded by a local Bank in the early 1950s. His illustrative works are again a mix of both tradition and modernity. Munira Al Kazi is another notable and outstanding artist of this period. They were founders and initiators of the day.

Building of Ships by Ibrahim Ismail, 1966

Oil on canvas board, 30 x 40 cm, courtesy of Barjeel Art Foundation, Sharjah

Landscapes

The focus in this segment is not just on the practice of architecture and landscape painting but on evolving and developing landscapes, particularly with the discovery of oil as a prominent resource. It is also about documentation, preservation, heritage and watching the shifts around them. The key artists are Ahmed Qassim Al Sunni, one of the first to receive an art scholarship from the Bahraini Government to study art in London. Along with artists like Nasser Al-Yousif and Abdul Karem Al Orrayed, Ahmed Sunni formed the “Manama Group” which met every Friday to paint the landscapes. Their style had a European influence but they focused on Bahraini landscapes. Ahmed Sunni was also the first to develop a school curriculum that became the basis of the art schools in Bahrain. Mohammed Saleem found an exhibition space where many of the artists from the exhibition had exhibited back in the day. He also coined the term “Horizonism” – taking colours and textures to emulate landscapes. Yousef Ahmad was responsible for the beginnings of the Mathaf Collection of modern art, among many other things. The other notable collective of the period is the “Three Friends” in which Yousef Ahmad was a prominent part. Many collectives and fine art societies blossomed strengthening the local art ecosystem during this period.

Old Architecture of Manama by Ahmed Qassim Al Sunni, 1960,

Oil and jute on wood, courtesy of Bahrain National Museum

Self-Representation and Portraiture

This segment is an ongoing conversation between concepts of the individual and the society, and tradition and modernity. Socio-political impact on the artistic output is strikingly visible. Along with the presence of many themes, it looks at different artistic mediums and how they were processed. A time that reflected both private and public spaces. Along with Mounirah Mosly, Safeya Binzagr pioneered in painting and exhibition. They had their one of a kind first public art exhibition in Saudi Arabia in 1968. Safeya Binzagr was the first woman in Saudi Arabia to have had a solo exhibition. Later she opened her own museum, again a first, Darat Safeya Binzagr. Her works dwell on traditions, intimate space and portraiture almost as an act of preservation. Mosly’s environment captured a constant flux of development and modernization. She also incorporated a range of materials in her diverse practice that was novel at the time. Thuraya Al Baqsami studied art in Russia and when she moved back, found that figurative painting had disappeared from the Kuwaiti art scenario. She was part of the GCC Art Friends’ Group that went against this wave. Her focus was on the lives and roles of Kuwaiti women. The Gulf War had a profound impact on the artist. Her work “Return from the village” is one that drew me in and I would have prolonged my stay in that village and would have loved to explore the place.

Al Zaboun by Safeya Binzagr, 1969

Acrylic and print on canvas, private collection

The Conceptual Turn

The final segment is not just a progression from one to another but it coincides with other dates, something that ran parallel; a period of introduction of new and different materials globally.

This section highlights the collectives “The Five” (modern and contemporary Emirati artists) and “The Circle” (a group of artists from Oman). Hassan Sharif is a major figure and there are references to his notorious One Day Exhibition held at his Mreijah Atelier in Sharjah. He is also the co-founder of Emirates Fine Arts Society. “Silsilat al Ramad”, the artists’ book by the short-lived Aqwas (“Arches” named after Sharif’s Arch-shaped works) Group that includes Hassan Sharif, Nujoom Alghanem, Khalid Albudoor and Yousef Khalil is on display. “My Mother’s Letters” by Abdullah Al Saadi is a work I was drawn to for its emotional element. This is a series of objects that his mother who couldn’t write left at his studio door to let him know that she had visited while he was away. The artist was a part of the group known as “The Five.” “The Circle” from Oman was founded by Hassan Meer whose installation “Under the Water” can be seen here. The collective focused on how to interpret spirituality using forms that one normally wouldn’t expect. Mohammed Kazem, Mousa Omar, Anwar Sonya, Budoor Al Riyami are other notable artists in this section. The artists were not only responsible for introducing and championing new artistic practices in the local communities but were also founding avenues through which this art could be studied, viewed and understood.

My Mother's Letters by Abdullah Al Saadi, 1998-2013

mixed media, courtesy of the artist

Khaleej Modern is a learning curve and a long overdue path-breaking exhibition for it could be a starting point to learn and have a deeper understanding of the times bygone in the art ecosystem of the Arabian Peninsula. Dr. Stoby anticipates that the exhibition will be a point to take forward the conversation in understanding the art scene and help in the wider reach and awareness of the times, the context and the changes – a reassessment and study of sorts. The people, the places, the process and even the patterns are a road map, a study of the past is essential to travel and evolve in the future.

Installation view of Khaleej Modern: Pioneers and Collectives in the Arabian Peninsula.“The Conceptual Turn” section. Photo: John Varghese

Exhibition Dates: Sep 6 to Dec 11, 2022

Venue: NYUAD Art Gallery, Abu Dhabi

Time: 12 to 8 pm (Mondays closed)

https://www.nyuad-artgallery.org/en_US/our-exhibitions/main-gallery/khaleej-modern/

photo: yours truly unless specified otherwise

We are our own Galaxies - Women's Day Feature

I have never been one for “days” as I believe that the idea, the experience, the reasons, the staunch support for any cause should be life long and not constricted to a “day.” That said, there are certain kind of “day”(s) when we get a chance to focus and spread the awareness more, a positive aspect to reach more audience. This is just that attempt. I love listening to multi-layered voices and bringing them together under a roof to maximize the effect by increasing the visibility. Though this effort of ours is intended as a friendly-fun collaboration, I would like to begin by citing certain views and thoughts that crossed my mind.

According to IWD website:

International Women’s Day is a way to focus on the social, economic, cultural and political achievements of women and marks a call to action for accelerating gender parity.

 “The campaign theme for International Women's Day 2021 is 'Choose To Challenge'. A challenged world is an alert world. And from challenge comes change. So let's all #ChooseToChallenge.”

 

The first IWD gathering took place in 1911 and since then there have been innumerable occasions to mark the day and its significance. I believe it’s more about humanity than anything else. If you closely observe the society as it holds a mirror to its own actions, we shall see the disparity in all arenas of existence not just gender alone. But gender inequality is perhaps the basis of all inequality. The domination that one is exposed to from early childhood is what taken across all sections of the society. That one of them can dominate the other leaves an indelible mark. It needs a collective effort and collective conscience to challenge a change.

“We do what we see way more than what we are told,” reminds Gloria Steinem and we need to see that positive change particularly for the younger generation to embrace it.

There has always been a systematic social devaluation of female life literally affecting the balance of life in this world and Emma Watson talks about it in her conversation with Gloria Steinem quoting:

“More lives are lost through violence against women through sex-elective abortion, female infanticide, suicide, egregious maternal mortality and other linked sex causes than were lost during all of the wars and civil strife of the twentieth century.”

-Sex and World Peace (2012 - Authors: Mary Caprioli, Bonnie Ballif-Spanvill, Chad F. Emmett, Valerie M. Hudson)

 

Our project is a simpler note though. As part of creating a meaningful narrative, Piya Gajbe and I decided to join hands with other art enthusiasts and veteran artists to create some personal chronicles in the name of art. The intention behind this collaboration is all about having a shared purpose, appreciation, trust and join forces to create stories of change and positivity; something hopeful.

Purple, green and white are the colors of International Women's Day. Purple signifies justice and dignity. Green symbolizes hope. White represents purity. Keeping this in mind, I had extended the limited colour palette for our works – Purple, Yellow ochre and Teal. However, artists are beings of freewill, constrain is something that cannot be dealt with by all. While some could think in terms of the colour, some indicated certain aspects of certain shades of the said palette. Ultimately, it’s all about a combined purpose and celebration in the name of art and that’s all that matters.

Being in diverse professions, some of my friends here still hold on to their passion to delve deep in splashes of colours. That somehow liberates us into a different realm. It is this passion and interest that has brought us together.

We are our own Galaxies- A Collaboration

Details - We are our own Galaxies

Our theme – “We are our own Galaxies”

Babitha Rajiv – Fort Kochi

Babitha Rajiv was born in Fort Kochi, Kerala, where she still lives and works. Her diverse art practice includes drawing, painting, sculpture and installation. Most of her works are in charcoal, pen and acrylic. They embody the many inner contradictions and confusions of life, nature and it’s beings. In her abstract works, Babitha deploys an investigation into the complex relationship between human perception and reality. In her abstract drawings she tries to explore a delicate equilibrium between a sense of balance and detailed texture and surface tension.

Babitha has been selected several times for the annual shows conducted by Kerala LalithaKala Academy and has attended various camps, group shows organized by various agencies across India. Now she is working on her third Solo Show that will start on August 10, 2021.

This work portrays Women's desire for freedom and empowerment.

Untitled, 91.44x91.44cm, Acrylics on canvas

Deepa Gopal - Dubai

Born in India and currently residing in Dubai, Deepa Gopal loves working with a variety of mediums. Most of her paintings are coupled with her own Haiku/micro poems as titles. She has done her Masters in English Language and Literature and is currently working as a freelance visual artist and a creative writer. She has displayed her works in several group shows in India and in the U.A.E. She has curated a couple of exhibitions, as she loves to bring many voices together. Her art blog, Hues n Shades, is one of the Top Indian Blogs.

Her works reflect the introspective emotional states or “mindscapes” as she likes to call them. The limitless mind in general and the inner workings of the feminine in particular captivates her the most. Most of her works are autobiographical. Myths, dreams, visions, people and their tales, the emotions and the unbridled feelings kindle her creative juices.

The current work highlights a mindscape of infinite possibilities where her dreams are guarded and she enjoys a safe space where her own universe wraps her up to heighten her realizations. 

We are our own Galaxies, 29.7x21cm , watercolour 

Dr. Hawa bi Khan - Sharjah

Hawa bi khan is a creative from the sun baked state of Goa, India. Her multicultural upbringing has affirmed the idea of perspectives, authenticity is what attracts and stories matter!

Along with exploring cultures,places and people, she spends her time expanding her vision in healthcare, AI, human rights and gender equality.

Creating and managing in her profession, dentistry, she has also invested herself in the field of her primeval love... art...dabbed in everything that intrigues, from printmaking to alcohol inks, to graphic design...anything that fascinates the creative in her to explore the limitless possibilities of a perpetually exploring mind.

Printmaking and pen and ink sketches are the medium through which she finds a way to let out and heal whatever the mind dictates!

Resplendence - 32.5x22cm - Linocut

Masarratfatima Sulaimani - Sharjah

Masarratfatima Sulaimani is an experimental artist, specializing in creating the unique art of hand-cut Paper. She believes that human forms and emotions can be best depicted through this art form.

Masarratfatima explores Paper cut art with various mediums along with the interplay of light and shadows. This gives the art a different dimension. Inspired by nature, culture, emotion, and architecture, these layered papers expresses a story of a moment. Through her art, she strives to bring out the human journey of understanding the self and the world. 

She has successfully showcased her works at various venues across UAE, such as Sikka Art Fair’19, WAD etc. She is an Art Instructor at various Art Centers. She holds a Bachelor’s Degree in Visual Arts from the prestigious Maharaja Sayajirao University, India.

Within - 22.7x42 cm - handcut paper with watercolour

Piya Gajbe - Nagpur

Piya Gajbe is an advocate, a writer and a painter by choice. Having written several short stories, blogs and articles for various online platforms and offline magazines, she has recently published her debut novel, ‘When Fate Kicks’. Poetry is soul therapy for her and she has a published collection of poems, “Dews N Petals” to her credit.

She is currently working as the Chief Editor of Sharing Stories Magazine and Content Manager for www.sharingstories.com. A doting mother to a son and an avid reader, apart from writing she loves to engage herself in music, arts and painting.

When she is not expressing herself in words, she uses colours and paints to describe her feelings and thoughts. A self-taught artist, she finds solace in painting and sketching. She loves to bring out the extraordinary tales of ordinary people around her through her writings and artwork.

We are our own Galaxies, 54x36cm, watercolour 

Rhiti Chatterjee Bose - Bhubaneswar

Rhiti Chatterjee Bose is an Artist, Writer and Counsellor based in Bhubaneswar, Odisha. She is the founder of ArtIsana, an art company focused on teaching and learning of various art forms. Her work mainly focuses on Indian Folk & Tribal art, Zentangle Art, Mandalas, Acrylic paintings and Art Therapy. She has recently co-launched a program called 'RasaRanga- The Indic Utsav' to empower the rural and folk artisans. She is the co-founder of a free community library 'Kitaabshaala' in Bhubaneswar for the underprivileged youth. She was the founder of the ezine ‘Incredible Women of India’ that documents incredible stories of real life women. She also has multiple print and online publications.

She has a Master’s degree in English Literature from The University of Madras. She has a Teacher's degree from Manchester Metropolitan University, UK, and is a Post Grad Diploma holder in Psychotherapy and Counselling from The School of Natural health and Sciences, London, UK. 

The cosmos and the Consciousness - 38.5x27cm - Pen and acrylic

Runa Biswas - Bangalore

Runa Biswas is an artist currently based in Bangalore. She was born and brought up in Kolkata where she completed Masters in Economics and also a five-year Diploma in Fine Art. For the last 15 years or so Runa has consciously worked towards developing a unique visual language that she can call her own and derive artistic satisfaction from.

Over the years, she has experimented with mediums, textures, tools and concepts that has helped her to achieve a technique that is a mix of watercolour wash employing layer on layer glazing, pouring, batik and brushwork. This technique has given her the freedom to use the rigidity of bold lines along with the fluidity of watercolor.

Her subjects are mostly figurative, inspired by dreams, folklores, stories and moments, and deep symbolism drawn from life, of other people she knows or came across, and even her own life. Of missed moments, or the ones that has happened already, yet are so beautiful that those can be re-lived once again.

She wants her paintings to touch hearts, yet speak to the minds of people, making them think, evoking curiosity, discovering the layers and making them happy every time they look at the works.

In Search of  Paradise - 25.4x25.4 cm - mixed media on archival paper

Sowmya Muralidhar - Bangalore

As the saying goes, Passion has a calling, Sowmya Muralidhar is an engineer by profession but her interest has always been her childhood passion, painting. 

Her journey from a novice learner to where she is today is through several inspiring workshops and the learnings under the guidance of senior artists. She loves working with varied mediums like oil, acrylic, pastels & charcoal. She is quite versatile in capturing the brilliance of nature along with conceptual, contemporary, and figurative arts.

She dedicates this art journey to the very first artist in her life - Her Mother

She has had great opportunities to share her journey in the form of online exhibitions and art shows in and outside Bangalore where her artworks have found a place and purpose. She also enjoys teaching art to all age groups. She also enjoys penning down the story behind each of her artworks. To sum up, her eyes are always looking for a subject that talks to her, enthusing her palette of colours to create works which leave an impact.

Seek within - 24x24 cm - Acrylic on canvas

Vani N M - Palakkad

Born in Malappuram district, Kerala in 1984, Vani completed her BFA in Painting from the Govt. College of Fine Arts in Thiruvananthapuram in 2006 and then went onto receive her MFA in the same discipline from S. N. School of Arts, Central University of Hyderabad, in 2010. She has been part of many exhibitions, workshops, art camps etc. including the works on Travancore Titanium Art Wall Thiruvananthapuram 2021, ‘Nirakeralam’ Online Art camp by Kerala Lalitkala Academy in 2020, ‘Niracharthu’ a national painting camp at Wadakkanchery-Kerala in 2019, ‘Biophilia’ group exhibition curated by Manesh Dev Sharma in 2017 and online slide presentation of her works in Ni-Talks in  2020. She lives and works in Palakkad, Kerala.

Speaking about her paintings, her early works portrayed the duality of ‘Black’ and ‘White’ and the existential crisis. She attempted to visualize the fight within her to decide the parameters of right and wrong. When she started to experience - the flow beyond the dualities - ‘Advaita’, she tried to represent this beauty through her paintings. As we know, we human beings are not so virtuous to others’ habitat and that realization led her to watch and depict the lives of nature too.

The Flow- Shakti, 40x50cm, Oil on canvas

Yamini Mohan - Kannur

Yamini Mohan was born into a family of acclaimed artists based in Kannur - the land of looms and lores by the Arabian Sea in the northern part of Kerala. She soon emerged from the shadows of her illustrious family, shaping her own distinctive style. After completing her Graduation in Painting from the University of Kerala, Thiruvananthapuram in 2008, she soon swapped the palm-lined beaches of her homeland for the bustling megapolis of Dubai, where she is now based.

With a self-confessed obsession for the dark and bold stokes of Charcoal, she is currently delving deeper into her favourite medium, ceaselessly exploring, evolving and expressing herself.

Yamini has been part of several national and international group exhibitions and Art Camps. She has three Solo Shows to her credit. She has been part of “Promising Artist” by Akaas Visual Arts, Dubai and “Women in art” show conducted by Gallery Arabesque & Centre Park towers in Dubai, “Images in-side out” conducted in Delhi Triveni Art Gallery is her notable Duo exhibition. She is a regular at Kerala Lalitha Kala Academy’s State exhibitions and Cochin Art fair.  For her work named “Iconography”, she was conferred with the Academi’s State Award (special mention) in 2007.

Wind-91.4x76.2 cm, Acrylic and charcoal on canvas

Hope you liked this exclusive feature post. Do share your thoughts and comments in the comment section. You can also send your feedback to mail.huesnshades@gmail.com.

Artists & Poets - "IGNITE-from within the confines-" Our First Eight

 “To reveal art and conceal the artist is art's aim.” ― Oscar Wilde

That said, on the contrary, here I need to reveal them for you my dear friends…

Here's the first set of Artists and Poets:

Read more about it and get to know the artists and poets by following this link:

"IGNITE-from within the confines-"

Also follow us on Instagram - @ignite.fwtc.2020

The exhibition I am curating is about to start, do stay tuned for updates. I hope that it will ignite every one from within the confines just as it did to us.

...between the eye and the brain - Cecily Brown

“I want to make forms that are either just dissolving or in the process of just becoming something and to play with the relationship between the eye and the brain.”

From time to time I go through works of many women artists, I don’t do that intentionally but they catch my eye more than their male contemporaries. I think there’s so much more happening in the canvas with all the told and untold stories that may or may not relate but for the most part, it’s the former that happens where ever they come from. I think there’s an invisible thread, a link that runs through the lives of the likes of us that coincide at some point. There lies a universal phenomenon beneath each surface.

Cecily Brown was born in London in 1969. A graduate from the Slade School of Fine Art, Brown moved to New York from London in 1999. She was just 29 when she made it enormous in the International Art scene; the Allbright-Knox, the Tate, the Whitney Museum, the Rubell Collection, the Broad Museum all made major acquisitions of Brown’s earlier works, certainly an incredible achievement for a young artist of her time. She is already in the echelons of the expensive female artists in the world.

Cecily Brown

Brown addresses herself as a figurative painter. As a child, she used to sneak into painting books of Francis Bacon and George Grosz, the German painter (known for his Butcher Shop paintings) and she liked the horror and scariness that it imparted more than anything else. Brown needs a body as a vehicle to talk about being alive and to understand the world else she feels that there remains nothing but smears of paint. She feels concerned with completed figures and finds the need to break it down. The cacophony of glaring, grimacing and fragmented figures as subjects, some evident, some loosely drawn and some hidden, all the same unmistakeably figurative like some elusive short-hand Brown’s adept at, reduced to complexions and sometimes veiled expressions and a whole kaleidoscope of fleshy pinks, oranges, browns, purples and grey fill up her canvas. There’s a tug and pull of painterly effect and figurative content amid the brimming human presence. Her aesthetic is characterized by sexual imagery and abstract expressionistic gestural style.

Brown likes it when nothing’s pinned down or determined, to be in a state of flux, in the process of becoming which I think is quite a wonderful place to be just as we might say that the journey is much more enjoyable than reaching the destination. She’s not into pure abstraction like later Rothko or Barnett Newman as she herself mentions. She conjures up images and is influenced by Masters like Rubens, Poussin, Goya, Titian, Degas, Miro, Gorky, Joan Mitchell and William de Kooning, the abstract expressionist. Brown takes in from history paintings and places it in her own aura of the canvas where she strips them of their past and breathes into them a new lease of life unconnected to where they belonged. The Young Spartans Exercising and La Coiffure (Combing the Hair) of Degas influenced Brown immensely particularly with the fleshy tones and figures in the former and the inherent menace in the latter which were brought to her notice by Bacon, she mentions.

Be Nice to the Big Blue Sea - 2013

Borrowing the names of classic novels, plays, and Hollywood films such as The Fugitive Kind, The Bedtime Story, Those are pearls that were his eyes, High Society, or The Pajama Game, she utilizes it to her best and makes her titles quite fascinating.

Sexuality, eroticism and attraction are important themes in her works which Brown explores through the churning of embracing couples pressing against one another forming and dissolving into a gorgeous watery landscape, the palette is luscious and fleshy, the subject is romantic and athletic in execution but refined all the same. Figures in a Landscape 1 and Figures in a landscape 2 are sister-paintings both in prestigious collections. These were two of the exceptionally famous works that fetched her an incredible sum to begin with.

Figures in a Landscape 1

Cecily Brown’s Bunny painting reminds me of Paula Rego’s earlier bunny paintings as well and Rego happens to be one of my favourites. What I find appealing in Brown’s canvases are the fleshy tones and the painterly texture that extends all through her wide canvas. Her story-telling has a signature style which she instills from a series of source images that are laid out in her studio and she works from them without directly holding, looking and drawing from it as she has become an adept after years of working from images, some are repeated too.

Where, when, how often and with whom? is a 30-foot-long triptych (donated to Louisiana Museum of Modern Art) The 2 central figures appear like apparitions, veiled as their eyes are washed off. They remind Adam and Eve’s expulsion.  Another aspect that appears in the same work is the shipwreck as in Delacroix and Gericault. Brown speaks of the impending violence when the French cops surrounded a lady in *burkini and asked her to remove the excessive clothing on a beach in Nice a couple of years ago which happened to catch the news. She speaks of the viewers who appear to be complicit voyeurs on the beach. I agree when Ms. Brown mentions that even in this century women are told how they can and cannot appear at a particular place say here a beach. Voyeuristic viewing appears as the subject in her painting; there’s always a voyeur there. She likes to respond to the things that she has seen. It just happens to point that how violent our society is, there’s always an underlying menace. She likes to think of herself being the intermediary feeding off the past and giving it to the future. Horror and sweetness are the constants in her canvas and of course some drama. 

Where, when, how often and with whom?

One needs to be physical and performative at a bigger scale like Brown’s. They are incredibly ambitious and fill up entire walls.

The ones I admire more are of a darker nature along with the above mentioned like All the nightmares came today and Black Painting 1. I like the ominous quality to it. 

All the nightmares came today

Amidst all the cacophony nowadays people wear headphones and weave in and out not realizing that they are going to bump in on someone at the last instant. They are totally unaware. They are so engrossed in the gadgets. The phone has brought about the death of society in a way. The figures in the paintings are unaware of the other though they are in the same physical space but they are not connected. This disconnectedness in today’s society is the tipping point.

Agreeing on those terms, I feel we are totally engrossed in our petite compartments that we are no longer bothered about what’s happening at the larger picture. If only we took some time to pause and look around, we would notice where we are heading.

*Burkini - a portmanteau of burqa and bikini - a woman's swimsuit that covers the entire body, leaving only the hands, feet, and face exposed. A type of modesty swimsuit for women.

images: Artspace, Pinterest, Sotheby's, Artnews.