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When abstract met linear

When abstract met linear
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Yusuf mentions that in this series we are face to face with the third dimensional print making; the fiber cast of the form, the cast of the paper pulp, the shadow on the wall, the transparency of the gauze showing its warp and weft and the thread ends, all contribute varying elements of mass, surface and lines.

Creating these pieces has a unique process; the artiste begins his work by drawing images on rice paper and pastes it on the acrylic. He then studies the form to negotiate its shadow. Finally, he evolves the forms from his sketches and drawings made on rice paper, of cast objects created with paper pulp and fiber glass.

The study of light on these objects and the shadow created thus are also integral to these drawings. Later these drawings on the rice paper are cut rendering them with a geometric edge to suit his creative impulse.

The use of colours in his canvasses is minimal – black, white and mustard. The lines are in every imaginable form – linear, horizontal, squares or rectangles. Yusuf’s world of abstractions has come after years of experimenting with different modes, even figurative art. Talking about the line, his muse, Yusuf says, ‘The line is the most abstract element – it has no end or beginning. And basic elements don’t change. It is how one chooses to use it that then becomes paramount.’

The lines and the play of multiple surfaces and medium render a sculptural dimension to the print imprint works. Yusuf mentions ‘I started 10 years back while I was in charge of the print making studio; I was face to face with the conventions defining the practice of print making. With the availability of new materials and my exposure to the international scenario, I wanted to engage in a more active and responsive way of working.’

When: 23 November onwards
Where: IGNCA
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