Adeela Suleman via AsiaArtBiennial 2013:My work emerges out of my own personalized experience of the
Adeela Suleman via AsiaArtBiennial 2013:My work emerges out of my own personalized experience of the contemporary socio-cultural and political realities of Pakistan. It is both an attempt to understand as well as to comment on (not necessarily critique) these realities.Tradition is still very often considered as a “thing of the past” without any contemporary legitimacy. Pakistan is neither traditional nor completely modern. Both have to be balanced. In Pakistan tradition and modernity goes parallel to each other, I feel the balance comes automatically relying on the tradition while making something modern. Helmets were part of a larger installation where I was looking at was the experiential dimension of traveling on a motorcycle in Pakistan. It’s always interesting for me to explore the possibility the material carries in its nature. For me, it’s like drawing with the material. I work with found objects and here the woman herself is designing gadgets to travel on the motorcycle, thus the helmets have a very homemade look. They give you a false perception of safety.In regards to the ornate metal works: The elements that you see in the work are symbolic. Birds- are the symbol for goodness, freedom and joy and the dead birds signify absence of happiness, immense pain and hopelessness. Rose- symbolizes sacred, romantic and sensual love. The rose association with eternal life caused rose petal to be scattered on the graves. Tree- trees are the supreme natural symbols of dynamic growth, seasonal death and regeneration. The fruit that tempted Eve is not told but it is interpreted as apple because it was then the most popular choice as an object of desire. It thus became an image of temptation. There are multiple stories that I am thinking, from my past and present and that have been part of my life. But they could be anyone’s stories and people can relate to them in whatever way they want to. -- source link
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