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MEET THE ARTISTS

Khadijah Rehman

11/10/2022

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Biography

Khadijah Rehman is a Lahore based visual artist who graduated from the National College of Arts with a BFA in painting. She has displayed her work locally and internationally, and works in both traditional and digital mediums. Her work delves into the otherworldly quality of night-time introspections, particularly the ephemeral instances where humans exist as if within dreamscapes, caught within reminiscences of everyday moments of love, longing and wistful solitude.
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Artist Statement

Playing on a contrast between intricate detail and flat patches of colour, between a tumbling together of texture and pattern and pallid faces, these works borrow from ancient and modern family photographs to create compositions that are reminiscent of dreamscapes. The skewed compositions and natural elements seek inspiration from Mughal and Persian miniatures, while the night has been used as the backdrop for these strange scenes, of personal introspection and human interaction, ranging from acts of everyday familial intimacy to events that hover between the past and the present in their quality of universality. Visual elements from memory and dream come together to create a patchwork of imagery, with the motifs of windows, screens and archways acting as a visual device to create tangible layers within the works, as if every setting were a stage. Like most dreams, oddities occur -  slight instances of glitches in the fabric of the narrative, and strange birds, animals and flora make an appearance, as if magnified and eccentrified by memory. Each work is a nod to some aspect of human interaction and behaviour, and elements of family, love, longing, transformation and introspection remain at the forefront.

Displayed with us in 'The Spark'

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The Echo
2022
Gouache & gold leaf on paper
22 x 30 inches


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The Hours 
2022
Gouache on paper
21 x 16 inches


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Amna Rahman

11/2/2022

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Biography

Amna Rahman (b.1993) is a painter based in Karachi, Pakistan. She completed her BFA, specialising in painting, with a Distinction, from the National College of Arts, Lahore, in 2017. Her work was published in a book shown at the Venice Biennale, ‘Imago Mundi’ curated by Ambereen Karamat and Amanullah Mojadidi, in 2017. Her works were featured in a BBC documentary called ‘Dangerous Borders’, in 2017. She participated in a performance called ’Noah’s Ark’ at the Karachi Biennale, in 2019. Her work was displayed in an exhibition hosted by Antidote Dubai, in 2020. She engages in community outreach projects to help talented young artists at the Arts Council, Karachi.
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Artist Statement 

My main focus is on social constructs and challenges to gender stereotypes. I explore female sexuality, desire, patterns and behaviours. I paint the female body in safe spaces, as I question the existence of the body - how the body navigates, how it is perceived & how it makes its place in this patriarchal world. Society has tried to separate the female body by defining it by gender, class, heteronormative structures, but the body is beyond all that. Hence, the paintings are a narration of my lived experiences of multiple realities, depicting the traits of female beings, their complexities and how they perish in the searing heat of a myriad of emotions. Recurring themes in my work draw on personal memories charged with emotions, duality, subconscious machinations of the human psyche as well as self-reflection.  

Displayed with us in 'The Spark'

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An Emotional Frenzy 
2020

Oil on canvas

30 x 46 inches

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Dreams of Aquatic Realms I
2022

Oil on canvas

38 x 50 inches

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Zara Asgher

11/2/2022

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Biography

Artist Statement

Zara Asgher visual artist and educator from Lahore, Pakistan, currently living and practicing in  Finland. She graduated from the National College of Arts, Lahore, in 2011. She was awarded the  prize for the 10 Best Works of the Young Artists Exhibition, Day After Tomorrow in 2012, by the  Punjab Arts Council, Pakistan. Asgher has participated in group shows nationally and  internationally. She was awarded a full scholarship to pursue an M.A. in Nordic Visual Studies  and Art Education at Aalto University, Finland. She has worked on art educational programmes  with the Espoo Museum of Modern Art and the Finnish Museum of Photography.

Displayed with us in 'The Spark'

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Merry-Go-Round
2022
Etching 
16 x 16 inches

Zara Asgher's practice is influenced by the themes of gender and sexuality and their relationship  with their cities. We use the term ‘public spaces’ when in fact not all spaces render themselves  accessible to certain genders or groups of people. She questions who makes up these places and  the ways in which abstract notions of power that govern the outdoors, play out.  
We are instructed to perform and interact with each other in public spaces in certain mannerisms.  In Pakistan, women do not occupy the streets the same way men do. We take the idea of movement  for granted. By walking we break and reestablish our balance with our surroundings. To establish  a relationship with one’s city, it is important to experience it on foot. By walking we establish a  sense of belonging, a closer bond with our environment. When movement is restricted, a large part  of self-identity is stripped away. Dependance on others rather than one’s own self is promoted as  to keep the hierarchies of places intact. 
Drawing around Lahore is an integral part of research, observing movements of the different  bodies that occupy these spaces. Drawing opens up a different channel of experiencing and  understanding different bodies passing each other by in public spheres. It is a language in itself,  one that is able to trace out various manifestations of power. These initial drawings translate into  patterns or structures of the ways in which dominant bodies influence other bodies.

See more by Zara
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Aimen Manzoor

11/1/2022

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Biography

Aimen Manzoor, born in 1997, is a visual artist residing in Rawalpindi, Pakistan. She has done her BFA, with a major and a distinction in Painting from the prestigious National College of Arts in 2020.
Manzoor has exhibited her work at the Satrang Gallery, Islamabad along with a few other places such as the French Embassy, Islamabad as a part of a group exhibition for which she was a runner-up. Her work is also a part of the permanent art collection at the Ambiance Boutique Art Hotels, Karachi. She is skilled in painting, illustrations, watercolors and ceramics.
A figurative painter by interest, Manzoor likes to play with scale in her paintings. A contrast can be seen in her work regarding this- on one hand she works on large scale canvases in oils and on the other, she works on small scale illustrative portraits, rendered in watercolors. Manzoor
has also published, designed and illustrated a zine, titled ‘Irk’, which was displayed at the Karachi Book Festival.
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Artist Statement

My work characterizes itself as mostly figurative by nature. I take inspiration from the everyday, the happenings and the mundane experiences. My work revolves around translating compositions I find interesting from my observation of the everyday into paintings.
My professional practice was moulded during my thesis, I worked on a series of paintings titled, ‘the Ordinary’. The need to make my work accessible and easily readable for all sorts of audiences motivated me to get into representational art. I started focusing on the everyday
happenings we all are familiar with, in even simpler words, art for the layman.
The figurative nature of my work is complemented by a few odd characteristics such as breaking the traditional way of painting a landscape horizontally, I have resorted to painting it vertically. Moreover, a very odd saturated color of the sky and a very off perspective makes the paintings somewhat surreal but also portrays how I connect to my surroundings.

Displayed with us in 'The Spark'

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Hustle on the Road 
2022
Oil on Canvas
48 x 30 inches
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Three Men  
2022
Oil on Canvas
20 x 30 inches
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Hassnain Awais

10/2/2022

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Biography

Hassnain Awais is an artist born and raised in Lahore. Graduated with the degree in fine arts, majored in printmaking, was awarded with honours in 2005.
He has exhibited his work in various galleries nationally, such as Taseer Art Gallery, Khass gallery, Artchowk gallery karachi,  Art scene Gallery, Rothas 2, Ijaz Gallery and more. Also took part in international exhibitions such as New York Art fair, Basement Art Gallery Dubai. He has worked as a faculty member in the printmaking department at National College Of Arts, Lahore and also at Punjab University's department of Art & Design.
Currently working as a freelance artist and running an Independent printmaking studio by the name of Studio Hassnain providing other fellow printmakers a facility to do printmaking, alongside conducting workshops and residencies.
Hassnain is also running a fashion photography and art direction studio by the name of Gadrang Designs.

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Artist Statement

محفوظ شدہ دستاویزات
Dastan kisa kahani
Archival or Archives consisting of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical, or evidentiary value.
Such records are normally unpublished and almost always unique, unlike books or magazines of which many identical copies may exist.
A feeling or an affection that one develops with such personalised paper, letters, envelopes.
We have a strange bond with these archival papers and the fact that we are slowly moving away from them .
Memories have a strange tendency of fading away with time yet many fragments are always there lurking within the depths of our minds and heart.

At time are Memories are etched within ourselves like writing on paper , perhaps that is why paper becomes so important to us .
My work revolves around a feeling or an affection that one develops with such personalised paper, letters, envelopes.
We have a strange bond with these archival papers and the fact that we are slowly moving away from them .
Elements in my work represents different sets of our society and its norms.
Each image is telling us a different story/ Dastan, or lessons of life and is presented in the form of visual poetry which needs to be deciphered.
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Rakhshanda Atawar

5/13/2022

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Biography

Rakhshanda Atawar was born and raised in Sialkot. She graduated in Fine Arts from Government College, Lahore, in 1981 and earned a Masters degree in Fine Arts from The Punjab University, Lahore, in 1984. With a portfolio spanning more than three decades, Atawar has shown with both national and international galleries, and has been part of the Taj Mahal Project 2004 in Agra, India. Atawar has served as the Principal at Hunerkada, Lahore, and as Head of the Department at the NCBA & E, Lahore. She has been the Co-Founder & Curator of 39K, Lahore. Currently she lives and works in Lahore.

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Artist Statement

With a portfolio expanding 3 decades, my latest work is a free hand use of rich colors, the effort guided by emotional outbursts. Unlike my previous works, the latest series is heavily influenced by one considerable factor, having to remain in lockdown during the pandemic, which in my opinion forced me to confront my emotional state and gave way to a relatively uber-dynamic movement on the inside... the work, just the expression.
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In Search of the Miraculous

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Untitled
34 x 49 inches

Enamel on paper
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Untitled 
47 x 38 inches
Enamel on paper 


See more by Rakhshanda
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AGHA JANDAN

3/31/2022

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Biography

Agha Jandan was born in Khairpur mirs, Sindh, Pakistan. He studied Fine Arts, Major painting From Central institute of Arts and Crafts Arts Council Karachi in 2008. Jandan has taken part in several group shows nationally. He has been working in various institutions as an Art instructor. Currently He works as DM (Drawing Master) at FGEI(C/G), Rawalpindi and posted at Attock Punjab. 

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Artist Statement

​Creation in itself, is never interrupted; there is always a room for Ruh; the Spirit of The Beloved to pervade, to enhance and therefore to impart more jot and a greater love. I would say that all these creations are but remnants of a sweet Reality that completely loses me.
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​ I paint Blackboards in which I portray phenomenon that happens in classrooms as well as in society. Its very expressive medium as I use it to highlight the disparity between what is taught to us and what exists. Through these visual poems, I aim to render tangibility of intangible    semotions and the innate richness of the human soul. I accomplish this by using a combination of emphatic circular rough strokes or drawings symbolizing the movements that culminate in mystical ecstasy.
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Decade

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Gagged pangs I | Acrylic on Canvas | 12 x 16 inches | 2022

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Gagged pangs II | Acrylic on Canvas | 20 x 30 inches | 2022

see more by Agha Jandan
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Akram Dost Baloch

3/31/2022

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Biography

Akram Dost Baloch was born in Nushki, a border town in the south-west of Balochistan province of Pakistan, and received his school education there. He graduated with his BFA from National College of Arts, Lahore, and is among the founding faculty of The Department of Fine Arts, University of Balochistan. He paints and sculpts and the themes of his work are wide-ranging, with a heavy focus on human rights. The dominant aesthetics of his work are inspired by the traditional motifs of Balochistan, an area to which he has contributed much himself; Baloch wrote his Ph.D. dissertation on the traditional patterns of Baloch embroidery and handicrafts and has contributed invaluable items to the collection on Balochistan at the Mohatta Palace Museum in Karachi. Baloch has received wide acclaim, both at home and abroad, and is also the recipient of Pakistan’s President’s Pride of Performance award (2004). He is currently based in Quetta where he runs his studio and chairs The Institute of Fine Arts at the University of Balochistan. He is the only recipient of the Karachi Biennale Lifetime achievement award that he received in 2019.


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Artist Statement

Akram Dost’s imagery serves as an impetus of such visual delights involving metaphors, dreams, delusions, emotions, ideas, and personal sensibilities in a new way. The water-based paints, granulated and treated with ink on paper display transcendence of intangible force, with delicately fine textures and creative outpourings.
Dost’s previous work was thematic - identifying the unidentifiable but he still could not find himself. However, this time he wanted out of it. He is deliberately in search of something innate that we all behold within our nature, how we grow from struggling to searching. The style evolved is new and entirely different from his previous work. It is this search that helps Baloch elicit his transformative process- educing his wistfulness to return in thought, to a former time. It is of immense remarkability, how each artwork communicates to you, so deeply than before that it reinforces the collective impulses from one’s primordial forms of life; his growth, struggles, joys, fears, illusions, questions, beliefs, and acquisitions, to his experiences.
When you look at his work, you will see depth, character, and wisdom. These along with personal sensibilities and natural phenomena serve a conundrum of drawing out three-dimensional entities or landscapes, reminding one of the beginnings of time, assimilation of nature’s elements with life, biotic and abiotic subsistence, fossils or rocks, submarine life, or forests, storms, waves or scattered raindrops. All these constituents fuse into tonal layers and varying textures keeping their sensational relevance intact. Call it a retrospective or prospective, Baloch leaves it to the viewers to think.
These new insights also set out the landscape of the ‘self’ with many valleys and peaks. How deeply the caverns and caves of the self extend into the moment of impact, where you crave more and keep searching. Most phenomena are unsayable yet it is awe-inspiring how Akram has provided an arena to think of the unseen and see it subsequently as if time slows down and beauty emerges with stillness. He says he was conquered by the way he would render surreal, nonlinear yet linear imagery that one can think of but not explain or the mind cannot capture yet see.
Things are explicitly eloquent, even when they are not. However one’s journey is summed up, conforming the idea of existence and what makes the whole thing going is the will of thoughts and imagination, withstanding the weariness of the living ones, resiliently.- Durrie Baloch

A Decade

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Untitled | 2022 | Mixed media on paper | 20 x 15 inches
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Untitled | 2022 | Mixed media on paper | 20 x 15 inches
see more by akram dost baloch
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Bashir Makhoul

12/6/2019

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Bio
Makoul completed his PhD in 1995 at Manchester University in the UK. He has exhibited his work widely in Britain and internationally, including the Hayword Gallery, London , Tate Liverpool Harris Museum, Preston, Arnolfini Gallery, Bristol, Ikon Gallery, Birmingham, the Liverpool Biennale and many more.
He is co-author of several books/publications including Identity Theft, Return , Ibrahim Noubani, Outside the CAMP and Return in Conflict.

A retrospective monograph on Bashir Makhoul’s art has been published by Al Hoash. He was the Head of Department of Art and Design and the Director of the Research Institute of Media, Art and Design at
the University of Bedfordshire He was also the founding  Head of school of Media Art and Design at the same University. He was the Rector of the Winchester Campus and Head of Winchester School of Art. Additionally, he is the founder and Co Director of the Winchester Center for Global Futures in Art Design and Media. He was the Deputy Vice-Chancellor at Birmingham City University, UK, and professor in art and design. Currently he is the Vice-Chancellor for the University for Creative Arts.
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Statement
Bashir Makhoul is a Palestinian artist based in the UK. Over 20 years of work he has developed a body of work in a range of media which explored aesthetics of modernism and post-modernism as well as offering nuanced political critiques on topics of economics, nationalism, identity, war and torture. 


​Scapes From Far and Beyond

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Artist: Bahir Makhoul
Title : Preoccupation 7
Medium : Oil on canvas
​Size : 26 x 26 Inch
Artist: Bahir Makhoul
Title : Skein 1
Medium : Oil on canvas
​Size : 26 x 26 Inch
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Nida Bangash

11/28/2019

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​Artist Bio​

(B.1984) in Mashhad, Iran, Bangash earned her BFA in 2006 from the National College of Arts
(NCA) in Lahore, Pakistan; two years later she received her MA in Visual Arts (with Honors) from
that same school. In 2010, Bangash received a NCA/Charles Wallace Arts Fellowship, which allowed
her the opportunity to study at the The Prince’s School of Traditional Arts in London, England. In
the past six years, Bangash has worked as an educator, hosted Miniature Painting workshops at
Australian National University (ANU) in Canberra, been featured in over two dozen solo and group
and exhibits, and won awards for her interdisciplinary vision and multimedia works. Bangash’s
artist statement offers the following: “Trained in the traditions of Persian and South Asian
miniatures, she employs these techniques through contemporary art that explores themes of
abstraction through deconstruction or reconstruction, to cross-cultural experiences of the political,
cultural and social.”

Statement
Confluence (Nov.)

Through the process of Mashq, an interdisciplinary practice, loosely translated as exercise,
repetition or circumambulation- I utilize both references from my immediate surroundings, as well
as Indo-Persian art histories to investigate institutions as a continual colonial legacy.
Coming from a tradition of Musawri and carpet weaving, I am interested in the formal and
conceptual underpinnings of the grid - a binary structure of power that bears, gives form to, and
disappears into the composition itself. The complexities of my concerns are explored through a
cross disciplinary approach of painting, sculpting, performance and video installations. I explore the
relation between contrasting mediums, aspiring to mediate static and moving images through an
aesthetic that embodies the essence of my painting practice.
The exhibition brings together selected works from three bodies of work, War Rugs with Love, I
Am a Tree and This Bridge called my Back. These works continue to evolve and influence each other
over the years examining the image of my childhood drawings of triangular-roofed, western
archetype of a house as a structure. This symbol represents both a private space from inside and an
institution that translates its power source, radiating outside its parameters.

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Nida Bangash
War Rug WIth Love 3
Gouache , ink and graphite on 400 lb Arches paper
30 x 41 inches


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Nida Bangash & Letterpress printing by Caren Florance
I Am A Tree 2-Diptych
Letterpress printing, natural pigments on paper
15 x 11 inches each


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