The Excavated Linearity

Sumera Jawad is a painter with 'Excavated Line', and textures scraped out of civilisations bygone. She, through her brush, seeks to research the true mental image of modern-day adult female by exhuming the historical mental representation of South Asiatic woman, lying underneath the Earth's crust along the great Indus River, since centuries. In her unveiling pursuit, she blossoms the layers of legends, myths and traditions which, emphasized the corporeal female mental mental image as well as her emotional domination but, at the same time, tried to burry her deep where no beam of visible light could Pierce through.

Through her journey, mythological female fictional fictional characters are like 'milestones' that have got marked her being to uncover the character of such as characters; the goddesses that ultimately encompassed the show as its statute title at Nairang Galleries.

As the name 'goddesses' suggests, the show was an attempt to exhibit the image of powerful women, ever existed in history, doctrine or psychology. Sumera have got addressed the modern contemplation of a female or up to some level, have challenged it as well, by putting the modern modern-day female mental mental image in apposition with the same image of the years long-gone.

The frameworks in this exhibition delimited the civilisations of Roma and Egypt, owing to the enriched mythological pizzazz and doctrine which had been appreciated the unasked ingenious anticipation that was likely to be evolved in and by coevals to come, but the accent was mainly on South Asiatic myths, fables and literary concepts, might be owed to her ain geographical linkage to the terrain where goddesses used to be the symbolical look of love, deity and power.

Sumera have tried to contour line her imaginativeness by unearthing the Indus Valley Civilization, She have curved the female figs with the Godhead rimes of Vedas, and she have tried to listened to the unspoken words; between the lines of Mahabharta which Seeta might have said after Agni Pariksha (Fire Scrutiny), or a Vishkannya's (venomous girl) lingua uttered behind her venomous dentition to show her ain feelings rather then her assassinating services in royal palaces. Her brushwood have followed the regal beat out of tribunals and modern stage dance and put them in comparing to the motions of 'the dancing girl' of Mohenjo Daro.

This was an tremendous attempt as the creative person tried to show with limited assortment of sunglasses and economic system of elaborate forms in 'various mediums', what the creative person herself had named the technique that she used in rendition most of her frames, where in doing so, undoubtedly she could not be called as unsuccessful but few of her pictures were below the criteria she set for herself through some of her ain masterpieces.

One of such as picture was 'Focus in Varying Eyes' with iconography of the most popular goddesses of the Subcontinent, the juicy Yakshi and Gori were painted by the creative person in poses, as they were sculpted in different temples of Maharashtra. But since the creative person copied the form, already chiseled by the ancient artists, this paining got thrice removed from reality! This panel, being in horizontal arrangement, only exposed the confronts and trunk of the goddesses, accentuating the all clip celebrated choice of 'fertility' connected to the subcontinent women, while the lyricality of the whole body, a goddess was made up of and for, seemed absent reverse to the topic substance of such as celestial nature.

Sumera have selected a very interesting technique for her full work which was exhibited with 'printing ink' and 'roll on' in a manner that print-like quality looks to weirdo underneath the surfaces. Where this peculiar technique have placed the creative person in an individual way, the drawbacks also cheep through some of her plant when few frameworks like 'Untitled-II' lacked the sense experience and zing conversely to other pictures where the chiaroscuro set life and enthusiasm in the abrasion, created through the solid and loud linearity. The artist, in some topographic points looked like losing control over her expertness of calculating visible light and shadiness divergently to her full work as that very facet added solidness and magnificence to the metallic bronze and browns.

A picture under the statute title of 'Desires' deliberately was displaying the concealed facet of life in a very concealed manner so; the suggestiveness in color, word form and position of the figure became more than vivacious than it could have got been perceived by a female painter. Given that the creative person was looking to reintegrate the existent mental image of South Asiatic women, she could not pull off to stand up on a bigger than life base for this cause and seemed inclined towards 'feminism' although she denied it in general in these words,

"I am not a women's rightist by intention, but if there emerge subjects and subjects of such as as nature, it is because of my gender."

The framework 'Contemporary Goddesses' was one such illustration where the closed and tight composition with four sitting figures, not allowing the viewer's oculus to look around or behind them but to go around around the feline qualities of women under the puppet-like faces.

Biblical topics have got always been of polar importance especially when one seeks to associate the human being in footing of corporeal and Negro spiritual qualities, so did the painter here by exhibiting 'First Obedience'; a picture tracing back to the conception of Master Sin, but the perceptual experience of the creative person inserted unanimity of grammatical genders when she parted the single figure into masculine and feminine builds accordingly in a texture alike that of wood; another illustration of accomplishment and thought combined with subtlety, which definitely deserved, chapeaus off!

The creative person also used birth-giving quality of the women to tag her differentiation as godly as of goddesses. In a framework 'the Wombed' she encaged the apes-like faces in a form similar to a womb, clearly indicating the powerfulness and the sublime of 'mother' who by giving birth freed the world from the darkness of non-existentiality.

As far as the usage of colours is concerned, Sumera have used earthen sunglasses to do a statement by excavating the buried images. On the other hand, while dealing with the Indian Myths, rednesses come up to mention the feminine saving grace and malleability, blues to go through on the maleness derived from the huge of sky and narrations of Krishna, and leafy vegetable to stand for life and breath, consequently completing the RGB; the visible visible light theory as light is considered the first to attain in the depths excavated!