Nasima Khanom Queenie—A wildly restless talent

Takir Hossain
Wednesday, August 30th, 2017


 

Nasima Khanom Queenie’s one impressive painting really smacked the art enthusiasts at the 22nd National Art Exhibition of Shilpakala Academy which was recently concluded in the city. The acrylic based painting glows reddish with all of its own way. The painting is pure abstract and the lines are lyrical and the forms of drop are impressive. She frequently changes her mode of expression and she has a great attempt to reconcile the phases. If anybody closely scrutinizes the piece, the painting could be divided into four portions with different proportions. The white lines are easily detectable and the lines have been used in a sequential way. It has been clearly observed that she seems more aware of space and forms. The forms give a contemplative look to her technique-based work. For a while, the painter has been experimenting with technique and materials. Her works are expressive due to the effective use of space in her works. Queenie’s work is meticulously executed and has opened a new window of visual experience for the viewer. She is very much precise and balanced in her use of acrylic shades. Acrylic provides more flexibility and creative freedom than any other type of paint. The making was time-consuming, the piece is cerebrally sound and spectators especially devour its pure forms.

 

Queenie portrays nature and its mysterious phases through her personal notion, experience and thought process. The abstraction in her works comes naturally as she has adopted a unique language for her own way of expression. Her paintings are chronicles of her inner feelings and intense observation of her living space, life and reminiscence. Her manipulation of forms, lines and refined brush strokes create a language simultaneously natural and contrived. Her palette swings between mellow and bold, strokes between rugged and controlled conjuring up a visual playground for joy and ecstasy.

 

Queenie could be tagged a semi-abstract painter. Her seemingly effortless compositions bear the skeletal footprint of the intricate organic structures of foliage and leaves. To illuminate the natural world she employs a gaze informed by the microscopic glimpses into the hidden substrate of natural life-forms. Therefore, there appears to be a defamiliarizing strategy with the creation of mystifying settings, however much may they be overwritten with human figures revealed on patterned planes.

 

The painter began her career as a naturist, her works became the aesthetic vehicle for the serenity of the natural environment with its rich abundance of colours, light and shades. In her prints, the rhythmic and seductive lines allude to the patterns of the plants examined under a microscope, leading to psychological recognition of affinity with the ecosphere on the part of the onlookers. Most of the works done in relief print involve a method of direct incision onto plastic wood plates with a needle.

 

The intimate relation that the viewers are able to establish with these glimpses of nature derives its resonance from the quietitude rather than the exactitude which the artist seems to resort to in the execution of her prints.

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