The unmediated act of corporeal and cerebral inference
of particles, starting from the subatomic to the synergies of the structural,
moving into the realm of environmental visual references, creates reflection
and illusions, modelled on our individual perceptive modes and prior
understanding of things. The act of image visibility is an association of
stages that incorporates our emotion, placement and reverberates with
individual perceptions of recognition. It is formulated through expressive
tendencies of weighing and evaluating its exterior content with ones’ own
absorption and sentiment.
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| Javed Jalil as Art Critic |
The visual world we perceive in our physicality
creates various random interactive sources of content that is realized within
us through the ways we have cultivated our patterns of consciousness. We can
choose to be obsessed by certain elements from our existence and amplify the object, which can be in its animated or static
nature, and we can project simultaneous vibrations, like a wave length of
sensations and integrated dilemmas, to amplify the content.
Farzana Urmi is a painterly and searching artist who
tends to involve herself into process of chaos emancipation, as a trigger point
of stimuli, deflecting into a stormy vibration of moment, speed, instinct and
paradox. It is as if she indulges the process of every particle being destroyed
to unify into another functional state. It is like a big bang of neurons, as
pigments accelerate through multiple energy sources, commuted with renderings
of gesture and randomization. She appears like a passionate inferno, fusing
existent external reality of the visible and invisible. Her senses are merged
with environmental presence and redemption of restless moments. She focuses on
scriptures of hard-core veracity of the emotionally heightened existence of our
surroundings, with contents of deliverance and struggle. But why this
relationship? Is it her existence within the surfaces of her living area or her
inner commodity relating to certain attractions that behold her subconscious
empathy - belonging to a string in a human chain?
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| Recent work by Farzana Ahmed Urmi |
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| Recent work by Farzana Ahmed Urmi |
The face is a reference of cognition with signs of
inbuilt expressive manifesto and all these are directions through which visual
artists incorporate their own metaphors and renderings, from hyper-realism to
the zero recognition of the elemental and the material. Slices of various
depictions and mannerisms configure the multi-stylization and temperament of
time and place. For Urmi, the face has been a weight-bearing capacitor of her
glancing animated tendencies, with a static and stiff disposition of the
structural, where expressions are absorbed with the exterior play of strokes
and pigmented arousals. The scattered micro-elements of landscaped bits of the
faces are marks of ephemeral graphic metaphors of the individual and forces of
moment and activity, overburdened with tenuous stresses of life and
society.
Her impulsive momentary dissections of signs and
objects of intimacy, or the tendency to pour her momentary delusions and energy
transmutations, are recognisable in her paintings. It is almost an
obsessive narcotic inducement of paint and surface, beholding the raptures of
kinetic motional pouring. She feels lost in the race of interactive sensations
of her surroundings and her being, so as to perform a voodoo-like dance of
pigments dissecting each other, crashing and breaking edges, into life-like
responses. She is definitely an expressionist but she has contemplated her act
into a personal thirst of involvement with spirit and association.
In her recent works at the Dhaka Art Center she had
also put out academic compositional studies, with ghostly glow of renderings,
where the trend of making things aesthetically pleasing doesn’t concern her,
rather the process of a very personal interaction of the moment stimulates her.
She creates airy sitting figures with atmospheric delusions of colour as
fragments of a light force, where forms are a vibration of light. She used
patches of assimilated materials to unify and exaggerate the dimensionality of
surface and emotional content .One of the noticeable factors are she, with her
explosive pigment gestation, feels her way into the surface, keeping the
anatomic stillness, and make overs the surface like a cosmetic makeup of
sensation and atomic changes.
The painterly spectacle of her painterly attitude is
attuned with the reality of the real as realized, and to comprehend it she
exposes her identity with modulation of a corpulent tide of pigments and
uncertainty, decoding the hesitation into a union of gestated ecstasy. The
faces she paints may tend to be suffering insights of ones’ inner lingering
thought but then again it could just be the ratification of our imagination
where the strangeness is acceptable as, not beautiful but painful, but beauty
can be realized by attaining the strangeness with perseverance, as
acceptability reforms beauty in a new accordance. Strangeness is just a
non-recognized validity of things, which slowly delves into the known and
becomes commutable and comfortable within our psyche. Urmi appears
straight to the point in creating a source of interplay, rather than redecorate
the visuals to become a recognizable likability. Her still lives and other
objective elements are also driven manifested moments of engagement and the
process of witnessing herself through it. The animated and the spirit overlap
within her being. The demesnes to the visibility of the incorporated states of
psychic prognosis are consents of the primordial instincts rather than sleek
mind, body and psychic awareness. The psychological visibility is also our
memory contained in imaginary nuances that tinge our psychic expressions with
significant creative understandings, to validate a mystery. Our body, and
infinite particles that binds together in a spinning space of motion and the
decomposition of it, into a state of activity, can speak an animated language
which is like entering a trance, that leads to illusion or a vibration of
musical strings playing numerous resonances but in the same tune. Various perspective
of our inner dimension makes us realize the re-echoed rhymes of the emotive.
The curators of this exhibition focused on the markings of bio- landscape, the
random impulses of abstraction, the grotesque approach opposing the
aesthetically pleasing and the scheming process, and the artist’s momentary
findings of the inhibited endowment of life.
Urmi intertwined her physical impulses into the
medium, and used the recognizable, traversing the particles of the refractive
into copulated state of another visual existence, as historically, with in the
doctrines of art, this is considered the psychic connotation of the seen,
thriving to see and create the unknown.
- By Javed Jalil
D h a k a A r t C e n t e r p r e s e n t s
Known Unknown
An art exhibition by Farzana Ahmed Urmi
On 16 October, 2014 at 6.30 pm
Eminent artist Monirul Islam
will inaugurate the exhibition and
Critic Moinuddin khaledwill grace the occasion as special guest
You and your friends are cordially invitedCurated by Wakilur Rahman and Kehkasha Sabah
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