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Untitled Drawing

Huma Shoaib

United Arab Emirates

Drawing, Paper on Paper

Size: 20 W x 30 H x 3 D in

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About The Artwork

My practice employs elements of religious and sacred geometry to work on the numerous aspects of belief systems. I am intrigued equally by the similarities amongst different beliefs, as well as with each one’s occupation with finding divine perfection. However, the existence of this perfection remains in question. Traditionally, religious geometric symbols refer to a religious narrative or belief. At times, the geometric proportions also refer to the existence of geometry in nature: from a microscopic view to a more capacious level. The manmade iconography has been created by us, in turn, to reflect this perfection, and to support our belief in a master creator of all. I extract geometric symbols from various religious icons e.g. star of David or Kabbalah from the Jewish belief, various Islamic art patterns, flower of life from Hinduism, the Christ grid from Christianity and so on. In decoding them, I find similarities in their design and meaning, and I use these as a basis to create new, fused forms. I also focus on the imperfections, inherent in nature, which are overlooked in traditional iconography. I work primarily with various kinds of paper, geometric sets and cutting tools, and create multiple drawings, layering them across each other to form negative and positive spaces. I also introduce nontraditional, neon colors to explore the contemporisation of traditional iconography and symbolism. My approach towards these works is predominantly minimal; the starkness a mere projection of the simplicity on the surface, but allowing for the multiple layers to hold a multitude of meanings and depth.

Details & Dimensions

Drawing:Paper on Paper

Original:One-of-a-kind Artwork

Size:20 W x 30 H x 3 D in

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Huma Shoaib
Huma Shoaib

United Arab Emirates

Significantly influenced by sufi ideologies, my work visually rests as serene and meditative in parallel to the disturbing questions of division and social hierarchy arising from them. Interchangeably, sufi teachings are generally identified as highly individualistic and harmonious practices while being on the contrary- Observing the sporadic existence of dervish from the rise of sufism centuries ago,having being taken a vow of selfless love and distancing from the norms of society, they were and until now are deemed as controversial figures. Their presence brings uneasiness in social settings and questions the elaborate ways of the tediously complicated belief system. Similar to the silent uneasiness I try to achieve through my practice. Manifesting creatures like bees, birds and fish as symbols for their inter-religious references, geo-location and life cycle. Ornate and complex geometric drawings hailing from centuries of tradition of being adorned with natural pigments and organic materials, whilst I choose to treat them with fluorescent colors that are industrially made and artificial in nature implying towards the need of beliefs becoming more synthetic and fabricated rather than being the innate desire to be spiritual and organic. Consistently moving between these ideas the imagery stands as a metaphor and holds a multitude of meaning. Actions like shredding and restructuring pages from history books, reducing words from letters to dots (nuqta). Coming forth as a process of unlearning a plethora of information being fed over a period of time. In totality my practice melts down to a consistent effort in breaking down or simplifying the complexity of fabricated information into the importance of one single entity. One minimal existence that contains all.

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