Written by: Sana Shahid
Posted on: October 23, 2024 | 
| 中文
Veera’s Self Eyes Egret’s Self in an Urban Forest by Amna Rahman
Artists are atypical, because they create and live in their imaginary realms through their artworks. Amna Rahman's exceptional art exhibition, Seers & the Seen at the Khaas Contemporary is a testimony to this.
Rahman takes the audience to an undiscovered and self-created world where the protagonists are isolated. The subjects in these paintings have gone on a journey of self-discovery or self-evaluation while sitting alone in a landscape seemingly spooky and mysterious. Her artworks focus on female figures, contemplating and challenging their own political and psychological existence in isolation. Rahman shares a rather vulnerable side of women, where they are the focal point of the paintings, which can also be an analogy of how women are being constantly stared at in public places. This not only gives them discomfort but also discourages them from going out in the world and, not to mention, excludes certain places off from their go-to list. All these women are accompanied by another figure which seems to be their sub-conscience, visually reflecting their thoughts on a canvas. However simple these paintings may seem, they hold a certain form of depth for the viewer to look at and uncover the mysteries, one after another.
Veera Finds a Lone Crab
The faces depict daunting expressions, and the body language further elaborates on how women have been fighting continuously over decades, and sometimes are overwhelmed, resulting in helplessness and trying to regain strength. In a few paintings, Rahman has added a layer of animals like birds and Pelicans by the sea. This layer also depicts a bond between dogs and the female figures, a bond that is irreplaceable, protective and provides a sense of companionship. The eyes seem gloomy or in despair, as if longing for a meaningful and a long-lasting relationship with the dogs. All these artworks create a sense of loneliness and grief, blatantly apparent to the audience. There is a struggle within the individual minds of these protagonists, but the bases for these battles are somewhat parallel to each other.
Flight Through Bodily Stimulations
Rahman demonstrates a bitter truth of the society where women are largely ignored, neglected, and treated way worse than this, leading to feelings of emptiness, longing and unfulfilled promises lingering on forever. A shadow stalker visits Laila in her garden, is a work that portrays a forest-like garden where Laila is sitting on a huge stone, with feelings and expressions of distress, sorrow and helplessness jumping out of the canvas. In front, Laila has a doppelganger resting on a tree trunk slowly caressing the dog in her lap. The second figure has different expressions and is staring straight into the viewer’s eyes, showcasing the longing for a partnership more sacred, more endearing, genuine and more fulfilling than the one she has with the dog. Rahman has redefined the meaning of ‘garden’ as it clearly seems like a forest with huge stones and tree trunks for resting.
A Shadow Stalker Visits Laila in her Garden
Another painting, titled, Kousar envelops her dog, Nebo in a cloak, represents a woman in an attractive and loose red garment while lying on the carpet next to her dog. This scenario is a reminder of a Hollywood movie scene where the heroine is longing for intimacy with an expression of desire. The warm tones suggest a cozy setting with a fireplace, which can also have multiple meanings attached to it. Her expressions seem content in the moment and finally, she has taken time for herself and the dog to bond and be calm.
Kousar Envelops Her Dog, Nebo, in a Cloak
Zoya bathes in the light of the lighthouse is one of the most stunning pieces in the exhibition, where Rahman has skillfully painted three figures in slightly different postures. Outside the window is the view of a lighthouse as part of the landscape. The woman is observing, contemplating, almost overthinking whatever is on her mind. Her postures reflect feelings of distress and worry, as if she is trying to resolve the inner battle that she has been hiding from the outside world. This is a true depiction of what women go through in this world, where they have to hide their inner battles to appear strong, confident and independent, but when they are on their own, that’s when they reflect upon their choices, decisions and problems. The intricate detailing in the chair made of straw and cushion with geometrical patterns point to the artist having a remarkable command over the art of painting.
Veera’s Self Eyes Egret’s Self in an Urban Forest (detail)
Rahman has beautifully orchestrated the harsh realities of this world into an imaginary domain, where all shapes, types and sizes of women exist. They are shown struggling through life, in order to find solutions to overcome the challenges that life has to offer.
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