Rabia Farooqui: Salon Exhibition

17 May - 3 August

  • Rabia Farooqui

    Salon Exhibition
  • Rabia Farooqui

    Rabia Farooqui

    Rabia Farooqui (b. 1992) is a visual artist based in Karachi, Pakistan. She received her BFA from the Indus Valley School of Art and Architecture, Karachi in 2015. Working mainly with the technique of gouache on wasli, Rabia Farooqui's practice explores the complexities of human relationships through playful, theatrical and colourful compositions. By anonymising her subjects, the artist purposefully draws our attention not only to the physical interactions taking place, but also to wider notions of performance, authority and vulnerability, blurring the distinctions between emotional states, movement and stillness, conscious and unconscious worlds.
     
    Solo Exhibitions include (Upcoming) Kristin Hjellegjerde Gallery (2025); (Upcoming) Kristin Hjellegjerde Gallery, West Palm Beach, USA (2024); Internal Landscapes, Kristin Hjellegjerde Gallery, Berlin, Germany (2023); Two Adults and an Attachment, Kristin Hjellegjerde Gallery, London (2021); Baby, You’re A Metaphor, O Art Space, Lahore, (2018); Clap Clap- I Approve!, Sanat Art Gallery, Karachi, (2017).
     
    Group Exhibitions include Art Dubai 2022, Dubai, UAE (2022); Two Person Show, O Art Space, Pakistan (2022); (upcoming) Amad, O Art Space, Pakistan (2022);  Facing The Sun, Schloss Goerne, Germany (2021); Devil's in the Detail, Kristin Hjellegjerde Gallery, London (2020);Inflated Vocabulary, Sanat Art Gallery, Karachi (2019); Augmentation, US Consulate, Karachi (2018); Beneath the Surface, Canvas Gallery, Karachi (2017); Carte Blanche, Fomma DHA Art Centre, Karachi (2016).
  • Salon Exhibition

    Salon Exhibition

    The complexity of self and its perceived facets are intertwined within intricate interactions, imbued with the consciousness of existence—navigating between floundering, embracing, and resigning. Through the lens of another, the self becomes aware of its manifold dimensions, traversing a realm of ambiguity where words mingle with unspoken thoughts, and feelings oscillate between unrequited longing and reciprocal connection. Rabia Farooqui's artistic pursuit grapples with this elusive terrain, exploring a spectrum of emotions—vulnerability, conflict, submission, control, and love—where the boundaries between authentic expression and societal roles blur. In the absence of fixed perceptions, the self and the liminal space between individuals offer a vantage point for observation and reflection. 
     
    A simple act of removing clothing holds a myriad of meanings, despite its commonplace occurrence within our daily life. It's a deeply nuanced experience that varies greatly from person to person. Unfortunately, for women, this act often carries the weight of objectification, overshadowing its simplicity. Within the seemingly inactive process of undressing, lies a wealth of connotations, stirring a wide range of emotions and setting off both internal and external responses. This series particularly delves into the nuanced exploration of acts symbolising intimacy, empowerment, and vulnerability. This exploration is characterized by a delicate interplay of humour and sarcasm, juxtaposed against the backdrop of formidable predatory animals from nature. By intertwining these elements, I aim to provoke deeper contemplation on the complex dynamics of human interaction and societal norms, while also inviting reflection on the primal instincts and power dynamics inherent in our relationships and self-perceptions. 
     
    In ‘full frontal’, the juxtaposition of a lion salivating over a female figure in the act of undressing, while a male figure in the distance holds onto his shorts, embodies a rich tapestry of symbolism and thematic depth. The predatory nature of the lion, traditionally associated with strength and dominance, contrasts starkly with the vulnerability of the female figure as she prepares to disrobe. This juxtaposition underscores the complex power dynamics at play in human interactions, particularly in contexts of intimacy and exposure. The presence of the male figure, depicted in a state of hesitation or restraint, adds another layer of complexity to the narrative. His action of holding onto his shorts suggests a hesitation or reluctance to fully engage in the act of undressing, perhaps influenced by societal expectations of masculinity or a sense of self- preservation. This contrasts with the overt desire displayed by the lion, highlighting the differing expectations and pressures placed upon individuals based on gender norms. 
  • The painting thus invites viewers to contemplate the fluidity and ambiguity of the in-between states of human existence. It prompts reflection on the interplay between desire and restraint, vulnerability and strength, and the ever-present tension between instinctual impulses and societal constraints. Through this exploration, the painting challenges conventional notions of power, agency, and identity, inviting viewers to consider the complexities of human nature and the multifaceted dynamics of relationships. 
     
    In the painting "Clap for Me," a narrative of performance unfolds, drawing inspiration from the innocence of bedtime rituals and childhood companionship. As the woman engages with the teddy bear, a symbol of innocence and comfort, the scene takes on layers of complexity. Meanwhile, the male figure's acknowledgment of the narrative suggests a claim to authority and control, subtly shifting the dynamics of the interaction. 
     
    Similarly, in “Forgive my Lurking”, a symbolic clash between primal instincts and human vulnerability is depicted as a lion confronts a silhouette reminiscent of its own fur texture. Amidst this tension, the vulnerable silhouette seeks recognition while the lion asserts its dominance. Yet, the woman's gravitation towards the vulnerable figure challenges traditional power dynamics, offering a poignant commentary on the complexities of human relationships. 

     

    By portraying scenarios where traditional roles and expectations are challenged or subverted, the paintings prompt viewers to reflect on the ever-changing nature of identity. They invite us to question how societal norms and perceptions influence our understanding of ourselves and others, and how these perceptions can shift based on context and interpretation. 

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