“I was a hidden treasure; I wanted to be known, therefore I created the world.”
My practice revolves around the concept of Creation within the context of Islam. The notion of Islamic art is to avoid the depiction of living things. Instead, we are to obtain inspiration from what has already been created, i.e. nature. We utilize and draw insight from the colour palette of nature. Somebody once interpreted that there is something complex happening beneath the patterns that I make. As if there is something yearning to surface – as the patterns seem obtrusive, controlled and restricted. This is interesting to me because on the external surface of nature, we need to take a closer look to actually contemplate the surreal, intricate and complex mathematical details that make up, for example: a single leaf. The Pythagoreans taught that the structure of the universe was to be found in mathematics. Nature merely appears random, but nothing is ever random. As Mandelbrot conceded “Order doesn't come by itself”, the laws of nature are created by this order. Everything is ordered, planned and serves a functional purpose.
I am interested in the perfection of patterns and the geometry and implied significance of the repetition and its infinite nature. The evolution of these patterns follows a singular unity of style, manifesting a progressive refinement of a central ideal. Muslims believe that the goal of creation is to ‘make manifest’. There is a Latin phrase “to name is to know.” Scientists merely uncovered/discovered what has already been created. I have created an environment in my studio space using photographs of animals and nature, and patterns; fractals play an important role to suggest the analogy of nature and creation. Fractals grow more and more irregular as we increase the magnification of our necessarily imperfect image of the universe. For example, there are infinitely many points on a line, and nature exhibits an altogether different level of complexity.
Mandelbrot’s Fractal theory explains this concept, a property called ‘self-similarity’. Which is also known as the ‘geometry of chaos’ as this can be applied to some of the irregular and unpredictable things you see in the natural world, i.e. how flowers germinate from apparently identical seeds, but the results are not identical. One of the most unusual aspects of fractals in that their repeating and changing patterns are infinite and can only be explored to some extent using modern technology. My fractal-like pattern pieces are structured but not repetitive and are characteristic of vegetal art, to represent growth and evolution - a kind of journey that maps one point to the next. My thought was to arrange the patterns in the image of a creeping vine – to connote the idea of something reaching up to the sky to acquire sunlight, and by extension reaching up to Heaven.
Arabesque conveys the principals that govern the order of the world – basics of what makes objects structurally sound and, by extension, beautiful. As Aristotle stated “the mathematical sciences particularly exhibit order, symmetry, and limitation; and these are the greatest forms of the beautiful.” Patterns represent one God whose influence is not concentrated on a divine materialization, but whose presence is an even and constant force throughout his creation. As the Poet David Meltzer wrote, “all things exist by virtue of their degree of participation in the Great name of God which manifests itself throughout the whole creation.”
Patterns fluctuate between the scientific and the ideological, referencing the conflicts between the old and the new, because in a way, patterns are very classical and were historically used for decorative purposes. However, in a contemporary sense, the abstract nature of patterns is highly symbolic and encompasses the epitome of minimalism. It concentrates on pure abstract forms rather than the representation of natural objects. The photographs I chose are significant because to me, they represent the perfection and humour of nature. The reason I collage the miniature patterns onto the photographs is to imply the veracity of mathematical aesthetics, to illustrate the point of parallel ideals. The white, boxlike frames that I use express the notion of looking through a window, somewhat like being in different worlds at the same time. Pythagoras taught that geometry is ‘knowledge of the eternally existent’.
I thought it natural for me to progress towards the subject of architecture. The parallels of patterns and architecture are blatant as essentially, they are built on the foundation of the same concept and rules. Architecture as a metaphor conveys the complex bonds between construction and deconstruction. My development from making a model of a mosque only made me realize that the merging the two ideas of patterns and architecture together does not work, as structure is imminently implied. I came to the conclusion that my work is more concerned with the notion of space. I started reflecting on the interiors of structures – as a building is as significant as what is channeled inside it. What kind of energy (i.e. positive or negative) is concentrated within it? The human activities that take place inside them – as the relation between energy and architecture are utterly significant. Through the images and patterns I make, I am creating a narrative of a meditative space. The interior of a Mosque epitomizes the ideal of a meditative space as it is basically a large room (the only partition being the separation of men and women) where people come to meditate and pray. There is no darkness inside a Mosque; there is only light and space. There are no chairs to sit on, only carpet and prayer mats. Shoes must be taken off, symbolizing the significance of cleanliness, purity and simplicity. In Mosques, the absence of images creates a void comparable to silence – but to a kind of silence which is not that of inertia but that of a state of undivided presence. I want the white washed walls of my degree show to connote this impression.
My ideas for the degree show have gradually developed to the point where scale is of importance. The distinct play on scale highlights the nature of the miniature and the transcendent. Part two of my exhibition will be a larger scaled, where the triangles are made of wood and are detailed by hand. I decided to make a pattern into the calligraphy of an Arabic word ‘As-Samad’ which means the Perfect, or the Eternal. This is to signify one of the ninety-nine names in Islam that represent God. I resolved to keep the colours minimal. Eastern art in general is more concerned with colour, unlike that of western art, which is more interested in form. My use of colour is a direct response to nature.
I have explored what it means for my practise to be within the boundaries of Islamic art. My work is more influenced by concepts and theories rather than artists. Visually, these artists have inspired my work: Jim Lambie, Toby Ziegler, Susan Morris, Shahzia Sikandar and Sol Lewitt. Particularly Yayoi Kusama whose use of patterns is also related to the notion of infinity and she concedes the idea of patterning being highly regarded as something spiritual. In effect, we are living in a world where creation manifests, both the creation of man and the creation of God. Patterns are inspired by nature and are quintessentially human. Man tries to imitate perfection by building structure. The synchronized harmony between the ideal human creation and creations of God parallels with Galilee’s understanding that “Mathematics is the language in which God has written the universe.”
My practice revolves around the concept of Creation within the context of Islam. The notion of Islamic art is to avoid the depiction of living things. Instead, we are to obtain inspiration from what has already been created, i.e. nature. We utilize and draw insight from the colour palette of nature. Somebody once interpreted that there is something complex happening beneath the patterns that I make. As if there is something yearning to surface – as the patterns seem obtrusive, controlled and restricted. This is interesting to me because on the external surface of nature, we need to take a closer look to actually contemplate the surreal, intricate and complex mathematical details that make up, for example: a single leaf. The Pythagoreans taught that the structure of the universe was to be found in mathematics. Nature merely appears random, but nothing is ever random. As Mandelbrot conceded “Order doesn't come by itself”, the laws of nature are created by this order. Everything is ordered, planned and serves a functional purpose.
I am interested in the perfection of patterns and the geometry and implied significance of the repetition and its infinite nature. The evolution of these patterns follows a singular unity of style, manifesting a progressive refinement of a central ideal. Muslims believe that the goal of creation is to ‘make manifest’. There is a Latin phrase “to name is to know.” Scientists merely uncovered/discovered what has already been created. I have created an environment in my studio space using photographs of animals and nature, and patterns; fractals play an important role to suggest the analogy of nature and creation. Fractals grow more and more irregular as we increase the magnification of our necessarily imperfect image of the universe. For example, there are infinitely many points on a line, and nature exhibits an altogether different level of complexity.
Mandelbrot’s Fractal theory explains this concept, a property called ‘self-similarity’. Which is also known as the ‘geometry of chaos’ as this can be applied to some of the irregular and unpredictable things you see in the natural world, i.e. how flowers germinate from apparently identical seeds, but the results are not identical. One of the most unusual aspects of fractals in that their repeating and changing patterns are infinite and can only be explored to some extent using modern technology. My fractal-like pattern pieces are structured but not repetitive and are characteristic of vegetal art, to represent growth and evolution - a kind of journey that maps one point to the next. My thought was to arrange the patterns in the image of a creeping vine – to connote the idea of something reaching up to the sky to acquire sunlight, and by extension reaching up to Heaven.
Arabesque conveys the principals that govern the order of the world – basics of what makes objects structurally sound and, by extension, beautiful. As Aristotle stated “the mathematical sciences particularly exhibit order, symmetry, and limitation; and these are the greatest forms of the beautiful.” Patterns represent one God whose influence is not concentrated on a divine materialization, but whose presence is an even and constant force throughout his creation. As the Poet David Meltzer wrote, “all things exist by virtue of their degree of participation in the Great name of God which manifests itself throughout the whole creation.”
Patterns fluctuate between the scientific and the ideological, referencing the conflicts between the old and the new, because in a way, patterns are very classical and were historically used for decorative purposes. However, in a contemporary sense, the abstract nature of patterns is highly symbolic and encompasses the epitome of minimalism. It concentrates on pure abstract forms rather than the representation of natural objects. The photographs I chose are significant because to me, they represent the perfection and humour of nature. The reason I collage the miniature patterns onto the photographs is to imply the veracity of mathematical aesthetics, to illustrate the point of parallel ideals. The white, boxlike frames that I use express the notion of looking through a window, somewhat like being in different worlds at the same time. Pythagoras taught that geometry is ‘knowledge of the eternally existent’.
I thought it natural for me to progress towards the subject of architecture. The parallels of patterns and architecture are blatant as essentially, they are built on the foundation of the same concept and rules. Architecture as a metaphor conveys the complex bonds between construction and deconstruction. My development from making a model of a mosque only made me realize that the merging the two ideas of patterns and architecture together does not work, as structure is imminently implied. I came to the conclusion that my work is more concerned with the notion of space. I started reflecting on the interiors of structures – as a building is as significant as what is channeled inside it. What kind of energy (i.e. positive or negative) is concentrated within it? The human activities that take place inside them – as the relation between energy and architecture are utterly significant. Through the images and patterns I make, I am creating a narrative of a meditative space. The interior of a Mosque epitomizes the ideal of a meditative space as it is basically a large room (the only partition being the separation of men and women) where people come to meditate and pray. There is no darkness inside a Mosque; there is only light and space. There are no chairs to sit on, only carpet and prayer mats. Shoes must be taken off, symbolizing the significance of cleanliness, purity and simplicity. In Mosques, the absence of images creates a void comparable to silence – but to a kind of silence which is not that of inertia but that of a state of undivided presence. I want the white washed walls of my degree show to connote this impression.
My ideas for the degree show have gradually developed to the point where scale is of importance. The distinct play on scale highlights the nature of the miniature and the transcendent. Part two of my exhibition will be a larger scaled, where the triangles are made of wood and are detailed by hand. I decided to make a pattern into the calligraphy of an Arabic word ‘As-Samad’ which means the Perfect, or the Eternal. This is to signify one of the ninety-nine names in Islam that represent God. I resolved to keep the colours minimal. Eastern art in general is more concerned with colour, unlike that of western art, which is more interested in form. My use of colour is a direct response to nature.
I have explored what it means for my practise to be within the boundaries of Islamic art. My work is more influenced by concepts and theories rather than artists. Visually, these artists have inspired my work: Jim Lambie, Toby Ziegler, Susan Morris, Shahzia Sikandar and Sol Lewitt. Particularly Yayoi Kusama whose use of patterns is also related to the notion of infinity and she concedes the idea of patterning being highly regarded as something spiritual. In effect, we are living in a world where creation manifests, both the creation of man and the creation of God. Patterns are inspired by nature and are quintessentially human. Man tries to imitate perfection by building structure. The synchronized harmony between the ideal human creation and creations of God parallels with Galilee’s understanding that “Mathematics is the language in which God has written the universe.”