Written by: Nayha Jehangir Khan
Posted on: February 21, 2022 | 
| 中文
Still Life with Oranges & Kashmiri Shawl
Irfan Cheema has returned with another dynamic exhibition of his masterful still life paintings at Tanzara Gallery. Currently based in Shanghai, he was unable to travel to Pakistan but was present virtually on Instagram Live at the opening. Having written about Irfan’s practice over the years, it is a treat to see him overcome these uncertain and unpredictable restrictions of travelling to his home country for the second year in a row. He remains connected with his Pakistani viewers through this virtual format, sharing teasers and glimpses into his studio practice on his Instagram profile. “Life & some other beautiful things” marks the artist’s sixth solo presentation, which is grounded in the tradition of painting classical realism. The 30 oil paintings in the current exhibition are a welcome addition to the artists larger series of paintings that have been displayed in several countries in the homes of his clients. The novella of chapters laid into each painting creates a larger metaphorical manuscript directed by Irfan Cheema’s environment, history and poetic perspectives on still life oil painting.
Still life with Spring Blossoms - II
Through “Still life with Spring Blossoms I & II” we are transported to the springtime of last year. The softness of pale white and pink petals is contrasted by bright green leaves and stems spread across the flowers. The two paintings have various vessels of different heights and materials, a convincing rendering of porcelain, glass, metal and stone showcase the artist's ability to realistically render surfaces. We imagine the artist placing these objects on a marble top studio table, and then carefully positioning each chrysanthemum and cherry blossom. The petals and stems create an elegant downward flow of direction that feels fluid and relaxed.
Still life with Liles & Tribal Rug - II
The bright red and blue hues in the background of “Still life with Lilies & Tribal Rug I & II” are vibrating against the crisp white lilies. This crossroad of tribal geometry and oriental vases create a unique union of cultures deliberately staged by the artist. His penchant for heritage designs and antiques reflects his passionate cross-cultural connoisseurship. The vignette in the painting is striking, illuminating the center while darkening and blurring the peripheries. The spotlight transforms the scene into an orchestra of notation with the tribal rug representing the brass and percussion, while the white lilies are the strings.
The larger “Still life with Berries & Finches” has prominent lush waxy green leaves of all sizes flowing down the table along with the Kashmiri Shawl drapery. The glass vase is perfectly lit with enlarged and distorted forms emerging through the transparency. The three finches at the center are enjoying a host of berries, each shining with a bright highlight. The viewer is at a safe distance to not disturb the delicate gathering of beaks, whereas in the panting duo “Still life with Berries & Zebra Finch I & II”, there is a solitary finch resting with a human-like body language.
Still life with Budgie & Walnuts - I
As we travel through the year of the artist’s studio life, we come to a winterish setting seen in “Still life with Budgie & Walnuts”, where the budgie glances back at the viewer. The walnuts are captured with a fleshy shell that has weight against the photorealistic budgie painted in bright yellow and green tones. The birds have crisp details against the softer and blurred out edges of the walnuts. The feet of the budgies firmly grip the bowl, and the nutcracker dominates the frame aware of the presence of the viewer.
Still life with Daffodils
The emotional study of forms can be seen in “Still life with Geraniums I & II”, as the artist chose to highlight the fine vines of the wide leaves and delicate wrinkles of the petals. The soft gradation of reds sinks into the center of each geranium flower. The shadows outline the leaves hanging off the table in the foreground. The deliberate yellowing of the leaves shows imperfection and decay, indicating that the skin of the foliage is ageing during the painting.
Still life with Mangoes & Alexandrine Parrots - I
The “Still life with Peaches” has a pinhole camera lens with a soft beige marble circular frame holding the view in place. We see the still life through the lens of a camera built with painterly strokes, diffuse light and an exaggerated blend of colors creating motion within the leaves and peaches. In contrast, the “Still life with Peaches & Plums” push the peaches in the background bringing the Kashmiri Shawl drapery to the foreground. The height of the vase and the dense sprawl of green leaves show some having been eaten through and chipped from the edges.
Still Life with Roses & Bulbul - II
This year the artist pushes his technique in photorealism showcasing incredible control of stroke and paint handling as seen in “Still life with Seashells & Cadmium Red”. The detailed patterns take the eyes in multiple directions, we closely examine the various sized seashells and follow the coral reefs vertical ascension. The glass bottle holding the potent and intense Cadmium Red pigment can be seen as an ode to the legacy of painting masters. Irfan Cheema leaves hints and trails of narrative through the particular placement and choice of objects in his paintings. The viewer begins with admiring the classical and technical painting and on exploring the visual references he has left, eventually encounters several pathways highlighting memories and life experiences of the artist.
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