Memory is a portal to the moments gone by; events that cannot be recreated, but are capable of initiating responses that trigger emotions. Life these days, moves at lightening speed leaving in its wake a tangled past, to recall which, can be a formidable task. However, in the field of art, there are a few bold troopers who dig into the past passionately, to recreate some of the wondrous moments of their lives. Aqsa Shakil, an ardent globe-trotter, is an artist who is pinned to the idea of visually archiving memories associated with her personal life, voyages and sojourns. As a consequence, Shakil continues to recapture moments that touch her the most. Her recent exhibition of 27 remarkably innovative art works, titled ‘Delineate’ at the Koel …show more content…
Each of the works, however, reflect the artist’s immaculate perception of anatomy, color, medium and texture. Deploying these traits, she creates the precise visual representation of what memory looks like. The artist’s imagination frolics dynamically with candidness to construct the soul of memory. Lying somewhere between the limits of fiction and truth, her paintings instill an empathetic impression on the viewers. Thematically, Shakil tends to define conflicting observations, which unambiguously establish agreement between discordant events. “I consider my paintings a platform to investigate the abstract disparities of realism as opposed to deceptive and the ephemeral”, says Shakil. Brimming with enthusiasm, she further states, “Every painting is a piece of memory that depicts my mind. Walking into the gallery today, I felt that I am walking through my mind”. She elaborates that her frequent traveling connects her with lot of people who have lingered or passed on, while some have lost touch. “These changing aspects have an impact on me, and my expression begins to respond to that impact, transforming every painting into a visual depiction of my memory,” she
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
The two pieces of art that I have chosen to compare is the ‘Green Tara 14th century’ and ‘Tara 19th century’ which are both from the collection at the Rubin Museum of Art. The Green Tara sculpture is from central Tibet and is made of Gilt copper alloy. The Tara 19th century is from Kham province in Tibet and is painted with pigments on a piece of cloth.
The memories of an individual will give shape to their own identity and how they are able to perceive the world around them; memories allow an individual to look back at where they were and where they are now and to see the contrast of their current life. In the text “Ru”, Kim Thúy, the narrator, finds herself looking back at her memories of her life and dreaming for more. When she arrives at Mirabel airport in Quebec, she is awestruck by the peace and beauty of it compared to her past in in the refugee camps of Malaysia and war torn Vietnam. Throughout her visit, she is able to dream of her future outside of her bleak memories of her past, and imagine a future without the constant strife of living in a post war life. Kim is able to use her memories to shape who she wants to be and allows her to truly admire where she is and where she wants to go, setting a path for her to follow throughout life. In the text, “Ru”, Kim Thúy uses her own past and memories to demonstrate the idea that an individual's memories will shape who they are and show them a life they want to live, whether it is a memory they want to revisit or a memory in which they wish to leave behind. Kim’s present is influenced greatly by her past and allows her to appreciate the little things all that much
...owing us with her great works. She has led a driven and captivating career. While she has received much controversy in her time she has managed to continue creating great works. She is widely acknowledge, and so far through out her life, has made quite an impact. Her love of nature and in it’s importance is rippled through out all her work, mostly in the freedom of her later works. Her ability to maintain balance between her love for architecture and art, has helped to make her stand out in both crowds. Her sculptures will please viewers for centuries to come.
Andy Warhol and Frida Kahlo had an immense amount of impact on the world of art. Warhol has always explored the rooted connection between celebrity culture and artistic expression, which left him with a lasting legacy that has marked him for one of the most famous artists to have existed. The population was fascinated by Warhol’s ability to blur the lines between fine art and innovative design, providing him a large following and work that will be remembered for decades. Kahlo too is a name that is not likely to be forgotten. Her work is recognizable on a global level and her works are loved by many people. The deep admiration her followers have given her, and the amount of modern artists that she has influenced, creates an immortalization
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
Comparing different works of art from one artist can help a person gain a better understanding of an artist and the purpose of their artwork. An artist’s works of art usually have similarities as well as differences when compared together. Sandy Skoglund is a photographer that stages entire rooms to create a scene for her photographs. Skoglund uses painting, sculpture, and photography to create her artwork. Due to the fact that most of her photographs are created in similar ways, almost all of her photographs have similar components represented throughout the photographs. Differences can be found in her artwork as well. Skoglund’s Revenge of The Goldfish, 1981 (Figure 1), is a popular work of art that is represented at the Akron Art Museum
“Memory is what shapes us. Memory is what teaches us. We must understand that that’s where our redemption is.” This is a painting from the perspective of a young boy who is a Holocaust survivor. The artist has created juxtaposition of his hands to when he was a youthful boy to his older self. It is evident that his memories shape this image particularly the background, as well as revealing his story and history.
Imagine you can own one of the famous painting in the world. Which one would it be? What will you do with it? If I got to own a famous painting, I would hang it in my bedroom and I’ll show it to my family. In this situation, If needed to narrow it down it will be The Persistence of Memory by Salvador Dali or Nighthawks by Edward Hopper. These paintings are extremely different, and their artistic movement is opposite from one another. By the end of this essay, you’re going to know the differences and similarities of these paintings.
Color is her main source of expression, along with her irregular shapes. Her paintings don’t only reflect on how an area looks but how it feels. The different type of saturations she uses creates so much value throughout all her pieces. Her use of acrylic on linen to keep the paint wet for a longer period of time so she can pour out the paint and to manipulate and build the space is very noted in this piece. The visual texture conveyed is dominant as well.
As I enter the Gioconda and Joseph King Gallery at the Norton Museum of Art the first thing that Caught my attention was a painting measuring approximately at 4 ft. by 10 ft. on the side wall in a well- light area. As I further examine the painting the first thing I notice is that it has super realism. It also has color, texture, implied space, stopped time, and that it is a representational piece. The foreign man sitting on the chair next to a bed has a disturbed look on his face and is deep into his own thoughts. It’s as if someone he loved dearly just experienced a tragic and untimely death. He is in early depression. I could feel the pain depicted in his eyes. A book titled The Unquiet Grave lying open on the floor by the unmade bed suggesting something is left unresolved. The scattered photos and papers by the bedside cause redintegration. The picture of Medusa’s head screaming on the headboard is a silent scream filled with anger and pain, yet it cannot be heard. I feel as if I am in the one sitting in the chair and I can feel the anger, and regret.
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
Therefore our identity is meticulously interwoven with our memories and this fact cannot be ignored. Whether it is a cultural activity or a personal one our identity is based on the things we choose to remember and even the things we choose to forget. Every small object adds to our self and conveys something about us that sometimes even we don’t