Month: April 2017

Making Colliature: An Interdisciplinary process

As an artist, every time I am asked to label my art or identify the main media in my practice on a form, my first instinct is to write ‘interdisciplinary’ then the wheels in my brain kick in, I overthink and backspace my way to replace my first response with ‘multi-disciplinary’.

Whats the difference? you ask. Very slight, but once you know it, it bores a whole in your understanding of your own practice. Multi-disciplinary art implies an artist uses a variety of media in their practice. This could range from painting, drawing, printmaking, performance to video, sound installations and whatever else you may like. And that is exactly how I work. Exploring one media, then another, then another and so on. This helps me focus, as each new media presents a new challenge. (Of course, concept also contributes to the medium chosen.)

Then there is Interdisciplinary Art. This is uber cool – a whole new level of creative. Because, this is where the artist takes two different media and marries them so that a chimera is born. Or a whole new genre, particular to the artists practice, is birthed. Simply put, using the principals of one media and applying them to the another to make something new, constitutes Interdisciplinary Art practice.

Now, I understand that Art exudes a cool, lack of rules stance on life, but despite that, Art does not equal anarchy. To elucidate, even tough art defies boundaries, definition and rules, it still manages to retain them. Conspicuously, it’s an oxymoron. Hence, I quote my A levels art teacher, ‘you have to know the rules, to break them’.
Suffice is to say that even though Multi-disciplinary, Interdisciplinary, Conceptual are just titles, they are quite significant in the world of creativity.

Completely by accident, Interdisciplinary is the turn my work has taken. For a number of practical and nostalgic reasons, I returned to painting miniatures in 2014. After painting three consecutive pieces, I took a creative break in the form of collage, taking the series forward with this relatively faster medium. It being my first ever collage, I loved the freedom and skill the medium demanded. It is possible to achieve a feel similar to collage digitally, but being the hands-on maker that I am, I preferred paper and exacto and immersed myself in the process of collage-making, consequently fuelling a potential love affair.

The above explains how I started prancing between miniature painting and collage, however I am unable to pinpoint the moment I took on the principles and methodology of miniature painting and applied it to collage. As I type here, I am working on a piece – a collage – executed with the principles of miniature painting, employing paint application, burnishing, borders, hashia, gidwal, thinking 4D and so on and so forth.

As I move towards resolving this piece, I feel like I can finally claim myself within the genre of interdisciplinary art. However, no doubt, in the massive sphere of interdisciplinary , this is a small and timid step, but its a start, an exciting and fun start.
Here’s hoping it’s only a matter of time before this foray, this timid little step transforms into big foot.

No URL here, please ignore this link..

Its a good day to have your article be the cover slideshow on an E-magazine!

Here’s a link to my review of Where The Shadows are so Deep, Imran Qureshi’s first major body of work in London, commissioned by the Barbican Centre.

“Not to say that the paintings in Where the Shadows Are so Deep are not beautiful – they most certainly are – but there is a fluidity in every piece that transcends the genre; executed in a language that has more in common with drawing than with the traditional technique of miniature painting.” – See more at:

http://www.youlinmagazine.com/story/where-the-shadows-are-so-deep-by-imran-qureshi/NTUz#sthash.YOOEfe3H.dpuf

I have been sitting on an idea for over a month now, contemplating this blogpost and happily, I am finally getting around to it. In self defence, I must add that since I have yet to execute the idea, a months procrastination is not too bad, and it’s still not too late. More than anything else, this post is an archive of my thoughts and ideas, marking the date and year. And of course, it helps irons out the creases in my concept.

Divine, Human | Technology, Intervention
Intervenchnology – Working Title.

This is how it started. At night, many nights ago, somewhere in my brain there were literal biological sparks, where synapses met and metaphorical dots were connected.With the biology explained and out of the way, I am now going to focus on the emotional/theoretical. I feel like my work is taking an automatic U-turn to biotechnology though in a spirited and sprightly manner, that is not at all depressing or cumbersome. And doing so, completely of it’s own accord, perhaps subconsciously, but it is no way planned or structured by my brain.

Religion/ religious belief and practice has been at the heart of my practice since 2009. And in some ways, I have been working in continuum, on the same body of work, despite the explicit changes in language and expression.

To elucidate the return to biotechnology; the winged-animals in my paintings are a visual representation that symbolise the imagination of my 5-10 year old mind, based on mythical stories and religious ideology imparted upon me as a child, however, my chimerical creatures could very well be conceived and created by human intervention in nature, propelled by the science of biotechnology, as is exemplified by Alba ,the glow-in-dark rabbit, the first of many such experiments and creations in art and science alike.

Undoubtedly deserved, there is a a lot of credibility advocated to human ability and biological intervention in nature. It is in fact, so much credibility so as to make it almost venerable. Bearing this in mind, I embark on my latest piece for this oeuvre.

The making of an Amulet, is a three-part wearable piece of art that represents our faith in science. For this piece, I have re-appropriated conviction scribbled on paper and worn for protection by believers i.e. a Ta’aviz or Amulet. However, I have replaced the (occassionally divine) scribbles with scientific struggles, accomplishments and possibilities, elements embodied within my chimerical animals. Borrowing from the idea of an amulet or ta’awiz , this represents our faith in human ability and scientific interference as opposed to Nature and a Divine plan.