Perilous Order, 1994-1997Vegetable color, dry pigment, watercolor, tea on hand-prepared Wasli paper, 10 1/2 x 8 inchesLand-Escapes, Series 3 #13, 2005Ink and gouache on prepared paper6 x 10 in.1 from 51 Ways of Looking, 2004Graphite on paper12 x 9 in.
http://www.american-buddha.com/illuminatidragon55555a.jpglines, dots, numbers...I was reading about how neitche had this Appollonian and Dyonisian dealio going on and how if you just face up to the reality of domesticity that the horror of repetitive meaninglessness will kill you, or not, depending on how old Neitche was, you know, what mood he was in. he went nuts though so I guess he never achieved total spiritual enlightenment.Well Shazia just might achieve Buddha mind. OR at least stylish curliques.Are those grubs in the roots? The aborigines ate witchety grubs - ten large grubs a day can feed an adult, apparently.
Maybe not the best examples of her work. I like her early stuff with some political content. The more decorative work veers into Howard Hodgkins, mid-career artist territory.
Two of the images are from her last show in nyc, so they are at least updated examples.But we added an earlier drawing: Hood's Red Rider #2, 1997Vegetable color, dry pigment, watercolor, tea on hand-prepared Wasli paper, 10 1/8 x 7 1/8 inches
I like this better:Tomb's Day
thanks Triple Diesel. Wasn't meaning to pick on you.
There's some folks out there whom I have absolutely no idea what the hell they're talking about-ever, but don't really care/ Like giving them the benefit of the doubt or something. Shazia's one of them.Granted, I too am more a fan of the earlier stuff...and you can keep the poli-stuff(Bill-n-Chelsea?please.)but her drawings kinda stand as a matter of fact for me.
The early twisted stuff would be amazing with Abu Ghraib or Guantanomo as subject matter. I sometimes wonder why artists retreat into their shell.
Very interesting blog
I saw this intervie/biopic on EGG or whatever and she was talking about learning the craft of miniature painting. One of the things she talked about was bleeding one dedge into the other by keeping the edges wet. If you use watercolor or goache in the West, you might know that you stretch the paper out with water and tape before you paint it so that it doesnt warp by shrinkage when your brush strokes dry. You also might know you can make the paper wet and apply broad washes over masked out areas (miskit or rubber cement) or use pigment or a spray bottle to absorb or apply water. I'm interested how miniature painting uses different techniques than western water color traditions.
Amusing, what do you want to know?E
People say Shazia "contemporizes" traditional miniature painting.I was wondering how I could contemporize my work too. I guess I was wondering how I could sort of reverse engineer this effect, so that I could "atavize" my work.
the obvious general answer is to 'experiment'; but to do that you must know the 'rules'....
One rule I've noticed is you should use contemporary motifs and references in a traditional context another is that one must have a sensitive contemporary (self reflexive) looking line.My line is "up against the wall motherfuckers"Shazia apparently is a sort of ambassador between cultures and traditions. That's kick ass.Where I come from its chainsaw sculpture this and watercolor landscape that. Not very exotic.I wonder whos gonna claim supremacy in cainsaw sculpture after balkenol and baeslitz?
I never thought her drawings were very strong, esp. if you compare it to decent traditional miniatures. Mixing a traditional style with identity politics seems catchy but this stuff isn't very subtle. A recent MFA from San Francisco, Taravat Talepasand, does a Persian minature style in tempera on panel that seem technically better and psychologically more engaging (though less overtly politcal, or maybe because).
Cirque du Soleil called it wants its 100th spin off back.
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