"Nine Blinking" Cobalt Blu Art Project

3rd Project coming soon

2nd Project "Nine Blinking"  Cobalt Blu Art Project

CORPOREAL CLAIRVOYANT AROUSAL - By Javed Jalil

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.

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?

Recent work by Farzana Ahmed Urmi

Recent work by Farzana Ahmed Urmi

The face and the portrait is her substantive motif of salvation, exploration and longing. It is the thesaurus of the manifestation of her energy. The face and its expression have been a matrix of surface recognition and introspection. But then again, it is also a landscape with layered dimensions of explicit subtle details of storytelling. Urmi in her paintings of faces, explored geo-surfaces of sensations that brutally and impulsively scrutinize the moment of interaction with picture-making surfaces, rather than having any likeness to its own identity. She creates her presence into what has been seen and remained unseen, thinking and analyzing and trying to grasp the effect that pulls her in, within the painted space of her faces. It is said that a face has 44 muscles and 7,000 micro-expressions that autonomously expose ones’ emotions. And there are seven major expressions that are universal. That means regardless of the structure and geo-placement, the major responsive moods of faces are similar. So, for an artist, all this micro-fraction of twist and turn are details of unlimited augmentation and sensation build-ups, like the construction of a surface or structure, resembling nature in its fleshy microscopic patterns that has spontaneous reflexes. Or states of absorption where surfaces, line and pigments refract an atmospheric stimulation.

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

Poster Out : Our body, the mirror of the soul and our body speaks its own language- Farzana Ahmed Urmi

‘Time After Time’- Photography exhibition by Juhi Kulkarni.

The motivating factors of these creations are emotions and contortions of psyche. Most of the visuals capture solitude, longing, fear and serenity experienced by every individual.  It is a quest to explore and highlight unfathomable side of human nature.

Artist : Juhi Kulkarni

Delving into personal experiences of every person the artist capture their apprehensions, bliss and inner solace; these though are primarily on surmise. The meditative pose and feelings in some of them are the ultimate willingness of the individual to find internal peace in this world of chaos. In this series Juhi Kulkarni has ventured to explore women psychology. There is a common thread of feelings flowing though the images and viewers. We find a strong affection for life and viewer is at liberty to associate individual feeling to every image.

The reality is presented in esthetic manner and the expressions have emotional tableaux. The photography works as a facilitator to get people’s feelings, hopes and dreams across, therefore each image exceeds more than being a picture of someone consciously posing for camera.      

As stated by the artist herself, she draws inspiration from Purana and Ancient Indian Vedic culture, so the symbolism in her photography clearly depicts metaphysical aura.

E- Card

The unique feature of this series is the dual exposure of every photograph. The artist has perfectly developed her photographs as paintings. It shows that the photography is not just about shutterbugs and clicks but a reflection on pure self. Juhi Kulkarni is successful in doing so as she has given her photographs a touch of painting. Many images are actually the photographs of paintings. The lines and curves tangled in each other with an emotional face in foreground makes emotion unambiguous and true to its feelings.

The artist’s passionate photography is also seeded in the humanitarian steps that she carries out in her everyday life. Working as a volunteer in Art of Living course has made her probe within herself and added to her skill of capturing the real self of the people. Her charitable act of donating the proceedings from the sale to NGO ‘Gift a Smile’ again reflects her humanitarian and philanthropic character in her photography.

Interview with Juhi Kulkarni

P JK ( Pankaja JK)    JK ( Juhi Kulkarni)

The following interview highlights Photography artist Juhi Kulkarni’s positive attributes and professional inclinations that add life to her Still photography in her solo show ‘Time After Time’ to be held at Jehangir Art Gallery, Mumbai.

P. JK: Tell us about yourself.

J.K: I am a visual artist and I have been making art since I was 2 years old (that’s what my mother tells me!). I draw, make paintings and also take photographs and make installations. I have studied BA (Hons.) in Drawing from Camberwell College, London. Previously I had shown my works in London and Nagpur and “Time after Time” is my first solo show in Jehangir Art Gallery, Mumbai. I also work with an NGO that teaches people to live stress free and works with educating less privileged children.

P.JK: Which factors/elements play an important role in your photo shoot?

J.K: I draw inspiration and experience from everyday life.  My work is reflected by my own spiritual experiences and is translations of my observations from meditations as well as readings of Puranas and Vedic scriptures. My creation evolves from drawing and takes form of photos, paintings or installations. Experience is never unmediated and it is always influenced by what precedes and follows it, by memory and expectation, modes of sensory organization, culturally conditioned habits of mind and countless other factors that are both historically and socially produced. Experience in other words is multiple of meditation and infinitely variable. To experience something you have to be totally engaged into it. I believe in engaging the viewer into my works and giving them the space and time in imagination to make it their own.

P.JK: Why are you fascinated by old technology of photography?

J.K: It is the nostalgia of working with the analogue camera and it also carries a sense of fragility and anxiety. It is quite exciting actually and the result is unknown and not immediate like the digital ones. In a strange way, the sense of control is more in certain areas and less in the other. As the image emerges on the paper it is quite magical and reminds me of the child like experiences we have of awe and wonder and magic.

P.JK: Do you use computer graphics to modify your images?

J.K: I avoid doing that, but sometimes to salvage the image I have to do it. Also when a particular project requires, I use my digital camera and computer graphics to work on them.

P.JK: Why do you make it look like painting?

J.K: I am fascinated by the act of painting and the entire process of creating the image in this manner, and so some of my photographs have the painterly effect. Sometimes I photograph my paintings and use them for double exposures.

P.JK: Which is the most coveted emotion that you like to capture?

J.K: I would like to capture bliss but it seems a farfetched idea, so I work towards capturing movement, stillness and a sense of tipping point. Emotions are difficult to explain, especially when they arise after deep spiritual experiences of meditations, I have worked towards depicting them with a little reference from the Puranas and other Vedic scriptures.

P.JK: Like every photographer do you also intend to explore motion?

J.K: I have explored it in the past and its quite exciting and endearing process. But as it requires specialized skills and an efficient team I have postponed the plans of making short films for near future. As of now I want to show movement in photography, i.e. movement via stillness.

P.JK: What is the difference between black and white image and colorful one?

J.K: Both have their unique qualities and I feel it’s unfair to compare them.

P.JK: What do you do for your professional growth and perfection in photography?

J.K: Photography has such a large range of techniques and tools, that to master all is very difficult. I make a point to learn new techniques, polish old techniques and practice what I know everyday. I dedicate a specific period of time everyday to develop my work and am very focused and disciplined about it. As of now I am working with a medium range camera and would like to buy a better one as soon as possible to get sharper images and more clarity. I also work with old analog cameras like Pentex K1000 and the images from this require an entire different way of processing. By observing other photographers’ works and studying their techniques and ways of working I develop my own ideas and it is a part of my routine. Some of my favorite photographers are Raghu Rai, Andrede Freitas, Christoffer Relander and Sara Bryne. For me my concepts are also very important, they always carry either a social cause or a personal spiritual aspect, which I work very hard to really understand experience and translate it into my work. I believe that perfecting the being brings perfection in every other aspect of my life.

P.JK: You are also associated with teaching field, how do you relate photography to it, besides just giving charity from the sale of photographs?

J.K: Photograph is a very powerful tool of expression and it brings attention and awareness towards whatever is photographed. A good photo can give the viewer a moving experience and hence bring attention to the cause in hand. I try to provide visuals as means of education to imbibe deeper impact on mind. Try to impart knowledge to under privileged children with perseverance and dedication.      

 - By Pankaja JK

Enjoy and rejuvenate your soul by attending this show to be held on 14^th October till 20^th October at Jehangir Art Gallery, Mumbai. 

More details contact: juhi.kulkarni@gmail.com 

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