View In Room
View In Room
Acrylic on canvas
Dimensions: 99.1cm (H) x 129.5cm (W) x 2.5cm (D) / 39" (H) x 51" (W) x 1" (D)
Note: Actual colours may vary due to photography & computer settings.
38 individually painted shapes to give the impression of a vast landscape as seen from a great distance or height. Features fields, mountains, hills, clouds and sky.
The sky in particular features a carefully mixed and painted gradient as day turns to night. The shadow of a cloud mass can be seen extending to its left, and into the sky.
There is the illusion of space, but all sections are laid next to each other on a flat surface, and the mind follows the shapes through time and fills in the details.
This is an original composition that required careful measurements and skillful handling of tools and pigments to achieve the desired effect of colours constrained to crisp straight lines. The divisions between the sections are straight and quite visible. They often catch the light, and when they do, highlight the sections surrounding it.
This minimalist landscape seems to shift in tone as the day progresses. It is visible even in dark conditions, such as at night: the clouds and sky catching and reflecting even the slightest hints of light. The overall effect of the painting is quite bright and vibrant, however, with a strong colour contrast between the top (blue) section and bottom (brown).
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Based in: Hyderabad
After first drawn to painting after being inspired by Cubism's proposal of perceiving the physical, Abdullah Khan creates paintings that play on human vision and perception. His practice focuses keenly on the intersection of abstraction and representation, subconscious and conscious, art and technology. Trained as a mechanical engineer, his research into industrial design lead eventually to art as a profession in 2015 based out of a studio in Hyderabad, India.
He is very much inspired by Picasso, David Hockney, and more recently Francis Bacon. Any number of subjects from his rather broad and arcane interests as well as his own contemplations of changing self and impartial observations of the current zeitgeist inspire his work. His style is informed by technological precision and analog draughtsman-ship with visible readings from cubism, minimalism, the colour theorists, the abstract expressionists, although the diversity of subject matter defy any single classification.
Works are thoroughly researched, precisely mapped and measured before painting in a technique; clean, crisp lines separating blocks of colour, often with visible brushstroke texture. He always starts from scratch, on a blank piece of paper. Most of the time there is a concept or image that had particular significance based around which an artwork is conceived, other times the specific materials or dictate the piece into a composition that complements it. There is an apparent love of paint. As with all art the self and the context is projected which invites subjective readings, which he welcomes as he insists on no particular meaning himself, allowing the work to affect the nervous system and draw a response.
He is very much curious of new and emergent technologies and how they continue to drive progress and further innovation, pushing our collective knowledge forward, and how they affect the sensibilities of form, design, and art. The end result of the work is an object that remains decidedly handmade in the face of increasing automation, despite being possible, directly or indirectly, only by modern technology.
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