gold leaf – ultrawolvesunderthefullmoon

Paintings by Komail Aijazuddin

Komail Aijazuddin is a visual artist and writer, whose practice includes drawing, painting, sculpture, and installation work. He earned his Bachelor of Arts in Art History and Studio Art from New York University and a Master of Fine Arts from the Pratt Institute. A strong influence on Aijazuddin’s art is the figurative work of Hungarian-Indian painter Amrita Sher-Gil, considered today a pioneer of modern Indian art and one of the greatest avant-garde women artists of the early twentieth century.

Drawing from his exploration of both the iconography of Shia Islam and the art of Catholicism, Aijazuddin works in the visual vocabulary of traditional religious art. Hie art is the outcome of the internal journey he has undertaken and includes paintings, illuminations, scrolls, altar pieces and votive objects, and the medium of gold leafing. Through these mediums, Aijazaddin investigates contemporary ideas of religion, belief and worship, divinity, statehood, and one’s sense of belonging and personal faith.

Komail Aijazuddin’s 2015 collection, entitled “Grace in Hand”, was initially shown at the Khaas Gallery in Islamabad. For these simplified works, he used silhouettes rather than detailed figures and, instead of complicated background patterns, used solid fields of color with washed-out highlights or gold leafing.

Aijazuddin’s solo exhibition, entitled “Secret History”, was held in 2019 at the Canvas Gallery in Karachi. This collection consisted of life-sized canvases which theorized on a figurative tradition of Islamic art. Influenced by the Christian religious art of Giotto and Duccio, Aijazuddin’s employed the repetitive element of the halo and combined it with elements from traditional Mughal miniature paintings and medieval illuminated manuscripts. His lattice patterned backgrounds taken from the culture of Persia were executed with dry pigments, whose contrasting texture highlighted the images’ figures.

Note: An interesting 2018 discussion between Komail Aijazuddin and figurative artist Salman Toor, also from Lahore, on issues regarding their art practice can be found at the Herald’s online site located at: https://herald.dawn.com/news/1154032

Bottom Insert Image: Komail Aijazuddin, “Angry Icon”, 2018, Oil and Gold Leaf on Panel, 91.4 x 61 cm, Private Collection

Valin Mattheis, “Into the Woods, Bound by the Moon”, Date Unknown, Ink, Gold Leaf, Silver Leaf on Paper, Dimensions Unknown, Private Collection

The world of Valin Mattheis is filled with otherworldly creatures, skeletal priests, and moments of transcendental awe. He draws inspiration from a variety of sources, including the symbolist artists, existentialism, Jungian psychology, and religions and mythologies the world over.

The two-dimensional compositions and skeletal archetypes seem somewhat reminiscent of medieval art referencing the Black Death, but while his work does explore that ageless desire to instil faith into the mystery of death, not all of it is darkness and despair. He says that more than anything, he “attempt[s] to convey a sense of wonder or reverence or curiosity.”

By recombining ancient symbols and reinvesting them with obscure, contemporary meaning, “blasphemous sorceries and foul rites” are performed, producing a humbling sense of power and magic. “That’s pretty over-wrought,” he said, “I also just really like painting monsters.”