The paintings of Imran Mir will absolutely abruptness and astonish a Sri Lankan public, for he belongs to a attenuate brand that is hardly encountered on our shores: that of abstruse artist.
Sri Lankan painting from its aboriginal origins on the walls of apostolic caves has been representational, pictorial, narrative. The abundant attitude of Buddhist temple art has been pre-occupied with cogent beheld belief – belief in which the exploits of bodies and prophets disentangle beyond a mural of boulders, copse and barrio – and communicating account – account about advantage and the perils of evil. And avant-garde Sri Lankan painters acquire slipped artlessly into this mould.
George Keyt, although heavily afflicted by European modernism, remained a allegorical painter who was absorbed on cogent a story, on cogent an idea. Ivan Peries, for abounding years ashore on the shores of the English Channel, corrective absent evocations of a Sri Lankan mural busy by abhorrent figures, evidently carrying affections associated with confinement and exile.
And the aforementioned is accurate of the new bearing of Sri Lanka’s artists. Jagath Weerasinghe, a arch painter and affecting teacher, engages with the action of abstraction, but his paintings are still representational. His affective alternation of Natarajas or his amaranthine explorations of the Dambulla Rock may absorb a action of stripping away, but they abide abiding in a attitude of amount and landscape; the added they are ‘abstracted’ the beneath abstruse do they appear.
In Britain the accessible is analogously abashed by authentic abstraction. Ben Nicholson and Victor Pasmore, both remembered as abstruse painters, began as landscapists and acquired appear an absent representation which had its roots in images of landscape. Henry Moore, generally declared as an abstruse sculptor, created forms which were at already both abstracts and landscapes and which remained consistently representational. Bodies abrogation the contempo Anish Kapoor exhibition in London acquainted cheated.
“What does it mean?” they asked the cat-and-mouse TV cameras. When these bodies lie aback on a blooming coffer and attending at clouds bridge the sky they involuntarily seek out the narratives they acquire been programmed to attending for aback childhood: over there is a cathedral, actuality a angry behemothic block a assemblage of children.
They acquire been rendered butterfingers of attractive at article for what it intrinsically is: a billowing billow of baptize vapour. Kapoor’s huge forms analyze geometry, achievement and space, but are absolutely bare of any anecdotal agreeable or of any complete or complete layers of meaning. They are what they are. Kapoor is not cogent belief or apery feelings, but he is agreeable you to accomplish your own stories. So it is with the assignment of Imran Mir.
Born in Karachi in 1950, Mir advised at the Central Institute of Arts and Crafts afore affective to Canada area he accelerating from the Ontario College of Art and Design in 1976. He again lived briefly in New York afore abiding to Pakistan area he set up his own announcement agency. However he connected to acrylic and to display his assignment and was one of the founders of the Indus Valley School of Art and Architecture.Mir belongs to a ability which boasts a continued attitude of pattern-making and abstruse geometry, a ability in which mathematics and astrochemistry acquire been of ascendant importance. But it is additionally cogent that he advised and lived for abounding years in North America. It was in New York in the backward 1970s, again a hothouse of ‘abstract expressionism’, area he encountered the assignment of Pollock, Calder, de Kooning, Kline and Rothko, and area he was arrive to exhibit.
Mir acutely sees his assignment as an on-going alternation of abstracts and refers to his exhibitions and publications as ‘papers’, as if they were actuality submitted for analysis by a accumulation of bookish peers. Each assignment is, in effect, a hypothesis which is presented for testing. These abstracts acquire to do with the analysis of the banned of surface, band and colour and the representation of three-dimensional amplitude on a two-dimensional plane. They are abstruse artful contest which blow on questions of beauty, harmony, discord, complication and pattern. Although they are the aftereffect of a action of accurate beverage which seems to advance appear minimalism, the credible artlessness of what is offered invites a complication of response.
Two things are striking, not to say surprising, about his accepted alternation of paintings. First is their size. Actuality admeasurement does amount and one is reminded that aggregate is an complete quality. The arduous calibration of the works invites a accurate response, abacus an added faculty of three-dimensionality to alike the flattest of canvases and agreeable the eyewitness to access central the work. Second is the actuality that, in animosity of an antecedent consequence that these images acquire been generated on a computer or a huge pantograph, they are in actuality anxiously hand-crafted altar like huge miniatures.
The accepted accumulating includes a alternation of diptychs in which one agitate is commutual with another. But these are not twins, generally not alike siblings. They adhere ancillary by ancillary like strangers bent calm in a cat-and-mouse allowance and appoint in a aerial but borderline dialogue.
My assumption, or guess, is that Mir does not intend his assignment to backpack any meanings or messages, ethics or emotions. He is not absorbed in authoritative political or amusing statements or influencing the thoughts or accomplishments of his viewers. He invites you to analyze his paintings, to acquaintance them, acknowledge to them for what they are. He invites you to ad-lib meanings, dream up messages, attach values, feel affections of your own, and again to angle aback and enjoy. One hopes that that Colombo will acquire the allurement and acceleration to the challenge.
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