Sunday, 12 October 2014

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

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Thanks for comment JK