Face Fashion A Guide To Drawing The Fashion Face Unseen Dimensions

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Unseen Dimensions

On a sunny day, December 23rd, the red-brick grandeur of the University College of Art & Design’s building was bathed in pleasant sunshine. The atmosphere, full of romance and adoration, invited all who could feel the turmoil of the sun’s stare.

UCAD faculty hang out in their finest wardrobes, waiting for the Vice Chancellor to be the chief guest to launch a unique show titled “Dimensions” that showcases the creative desires of painters who happen to be university teachers. was doing. Also UCAD.

Artists need space to display their work, but all galleries provide adequate walls to hang their paintings. We did the same for a series of works rendered exclusively by the faculty of this prestigious institution.

It is always considered a great opportunity when offered the prospect of a young lot of every tradition side by side with the old. was.

Entering the Ana Molka Gallery has always been an honor for me since my school days in the corridors of UCAD. But when I entered the door, a strong whisper of deja vu didn’t stand out. Undoubtedly, it was a precisely curated show in which all exhibition requirements took precedence, but what I immediately smelled was the contrast against the milky walls of the gallery, which also hung on other walls in another gallery. And ironically, an attitude that could be a false rope to hold onto for a younger, novice generation of artists, mostly by mature and well-known artists.

Nonetheless, the exhibited work was somehow controversial.

Painted in a highly designed composition by Zafar Ullah, who happened to be the principal of UCAD, the snow-covered roofs were just in sync with Lahore’s freezing temperatures. The frame was nothing new to the beholder at the time, but the geometrically conceived and coherently drawn canvas, painted predominantly in zinc white and rusty browns, gave a sense of its icy atmosphere. It made everyone wonder why the painter behind the painting couldn’t have done it. Is his new canvas burning when all the fire is in the Little Master?

Entitled Shimmering Woods, the surface of Kekeshan Jaffery’s canvas burned relentlessly with fiery reds and yellows. A typical Kekeshan painting with warmth and depth around and within the central part of the painting. There were blue and green strokes in a few patches across the canvas, but they were identical to the blue and green parts of the flame.

These flames go wild in “Heaven of Another God” by Maliha Azmi Agha. Maliha Azmi Agha has been obsessed with pure blues, reds and yellows for the past 3-4 years, which seem to overlap to create secondary tones of green and green. orange. The energy and direction of the strokes gave the impression that the painter was trying to break all the restraints and norms that had been put into practice for academic or institutional requirements. The style was well balanced with the energetic painter’s previous work.

Flanking all these fiery frames hung the soft, delicate, flexible delicacy of Rahat Naveed’s pastels. It is known for its rose-like skin. I came across Rahat’s new abstract style at a recent exhibition in town, with the glowing skin of a woman’s face in one frame, intentionally composed of red roses and the glow of a man’s face, handcrafted is drawn on paper. Another frame is calm and peaceful, reminding us of the classic tenet of tranquility, especially in the Western world.

As for the exhibited works, the tone was generally soft for a female painter. With its Impressionist cityscape, Anila Zulfiqar recalls her late 19th-century era, when French painters sought to capture the changing light. With brushes juxtaposed with her strokes and hazy ambiance, Anila sought to create a fog typical of Lahore her bazaar stretched to its greatest depth.

Anila’s memories of the cityscape are of narrow streets, jaloka, and snow beneath tapering shades. Arranging these elements in her own style creates depth in the central part of the canvas, especially when her December mist envelops them warmly. A feature recently developed by a young painter.

However, Shmera Jawad came up with a typical image of a woman traveling through time, in contrast to the supple and feeble fashion of female painters. associated with women. In her exhibited paintings, she placed several mythological elements against the goddess, with eyes hidden and unhidden from the background staring at the onlookers. As usual, like the film actresses of 1960s musical melodies, she put the modern image of the contemporary woman at the forefront of the composition.

Miniatures are what Khalid Saeed Butt is all about in this show. He had a very lyrically subdued woman appear in the center of the frame, with tree branches around her. The softness of the curves of the leafless tree twigs matched the curvature of the female figure, which in its rendering resembled the figures of the “Pahari” school. Khalid crafted the unusual parts of the figure with such precision that the viewer’s eyes seemed to be absorbed in the dark areas, but as they moved along the half moon of the pelvic arch, the artist was blessed. The apple to the left of the female figure is reminiscent of a familiar biblical theme.

Tanvir Murshad is a famous designer who loves to draw. In this show, he displayed vertical canvases sprinkled with acrylic paint. The energy and dynamism he produced from blue to yellow was a sign of his control over compositional requirements, which he gained through his geometric vision.

But Amjad Pervez used all his mastery of cityscape geometry and balance in watercolor. The typical ‘Dalwaza’ of old Lahore was very well done. But apart from the skill that professional painters were always screening for emptiness that could be filled, a sense of helplessness was evident.

The young lot was marked by Ali Azmat, Mughis Riaz, Tasaduk Amin and Shehzad Majid. A typical male nude Ali looked repetitive. Mughees represented his favorite Ravi Scene with boats, and Tasadduq’s oversized foreground landscapes were all inspired by his Zulqarnain Haider School of Landscape. ‘vasli”s experimentation with Shehzad Majeed’s meticulous pencil drawings was inspiring as far as skill is concerned. The composition and tonality were accurately exploited.

Undoubtedly, it was an excellent effort by UCAD. Only frequent shows of this nature can answer the questions seen between the lines. There is hope and anticipation that this show was just the beginning of a spirited, heartfelt tradition.

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