Written by: Nayha Jehangir Khan
Posted on: August 22, 2022 | 
| 中文
عقلِ خود بین دگر و عقلِ جھان بین دگر است
بالِ بلبل دگر و بازوی شاھین دگر است
اقبال
Shah Abdullah Alamee’s art practice is entrenched in the passionate quest to seek truth and authenticity in the act of painting. In this solo presentation titled “Naghma e Besada”, six powerful paintings are displayed along with a performance piece where the artist painted live at the opening on 18th August 2022 at Tanzara Gallery. The direction of his strokes is purposeful, undergoing a meticulously orchestrated symphony of black hues on a gold leaf backdrop. This deep contemplation of Sufi poetry has led the artist on a spiritual journey that is resonating in his paintings. His reverence for the “Siyah Mashq” technique, originates in the Persian calligraphy tradition of Iran. The viewer is mesmerised by the stunning visuals Alamee presents with a sculptural weight as in “Alif”, where infinite darkness is at the centre of the single letter. An optical vibration surrounds this singular celestial form drawing in the viewer.
And this journey of time, in which there is no rest, and of which there is no end (Detail 2)
The title for the painting, “And this journey of time, in which there is no rest, and of which there is no end”, is taken from Faiz. The painting is full of restlessness and imbued with combative energy as each letter wrestles with the next rising to the surface. The pale gold light breaking through the calligraphy creates a moment of rest between the waves of Persian ink. The transition between radiating gold to the mysterious ultramarine colours in, “When the moon came up to my bedside and said, awake, for the morning is here”, creates an effect of the day crossing over into twilight. The artist brings to the surface a soft silence that permeates through the canvas into the space of the neighbouring piece, “You are what you seek”. The paintings have gently over-lapping forms that engulf the viewer, their transportive quality carries the light of the moonlit starry sky and ripples created in still water.
When the moon came up to my bedside and said, awake, for the morning is here
The vibrancy of the ink further amplifies the calligraphic elements creating a continuous pathway for the viewer to follow. The four-piece painting, “My secret longing, like a song without words”, references the motif of ancient Islamic tile art using a microscopic perspective to create his lettering. The minimalistic use of the white background is purposely used to create a stark contrast pushing the voluminous ink towards the viewer. The breaking of the white with intense black, creates a mysterious space inside the canvas that is otherworldly and cosmic. The artist relates to the ephemeral nature of language, rediscovering its depth of meaning through creating unexplainable voids of colour between white and black bridges, with the echoing tones of blue. Through this transitioning lens, there are moments created in each painting that are lyrical and harmonious.
My secret longing, like a song without words
The performance piece by Alamee on the opening night takes its inspiration from Rumi's first encounter with Shams Tabrizi. The artist enters into the imagined memory of the meeting and allows himself to explore the emotive transference of the experience onto the canvas. His understanding of poetry remains intensely personal and spiritually enlightening, driving his brush to the canvas during the performance. For him, the visualisation of the verses that he shared before beginning the performance activated the painting’s line and form, taken from the Persian practice of calligraphy. The effect of the performance was felt by everyone in the space, as the artist gently stepped onto the canvas covered in delicate gold leaf layering each stroke with control and precision. Witnessing the painting meant watching the artist and his movements with a heightened focus that instantly created an intimate connection.
cEach brushstroke during the performance carried immediacy but showcased the profound patience of the artist as an experienced calligrapher. The viewer could recognise the nature of ink that has its own weight, gravity and movement requiring mastery and control from the artist. Another layer of sensory stimulation came from the sound of the brush sweeping across the canvas, creating its own emotive language present in each painting of Alamee, but could only be understood through the live performance. The atmosphere of the gallery transformed with the performance, as the gathering nestled together around the artist and canvas lay on the floor. The presence of the largest mural painting by Alamee became the background of the now illuminated stage, where the performance was taking place. The entire exhibition can be seen as an art experience that each attendee will carry as a deeply spiritual experience for the rest of their lives. The show continues to 1st September 2022 at Tanzara Gallery, Islamabad.
عقلِ خود بین دگر و عقلِ جھان بین دگر است
بالِ بلبل دگر و بازوی شاھین دگر است
اقبال (Detail 3)
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