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Daniel J Betsill
Kiran Lakhani
Chris Coleman
Laleh Mehran
Robert Cain
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Peter Fine
Melinda Crider
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Eric Benson
Gordon Burns
Stephen Evans
Hollis Hildebrand
Malcom Horvath
Skylar Morgan
Priscilla Nelson
Sol Salazar
Art Smith
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Karey Walter
Marie Gayeski
Melinda Crider
Merle Bouffard
Priscilla Nelson
Saleh Uddin
Tad Gloecker
Tazim Jaffer
Wendy James
Zamila Karimi
Introduction
Encounters
Experimental Movie
International Artists
Zamila Karimi
  » Experimental Movie

A site-specific mixed-media experiential installation using light, imagery and sound Processes of Change is a phenomenon that is evident in all-living things and which one deals with in all aspects of life. The installation is an attempt to elucidate this notion through the idea of space in transformation (ephemeral) constantly. Through personal negotiation and mediation space defines and redefines, appropriates and re-appropriates itself according to individual experiences and beliefs both physically and spiritually. I am very intrigued by the harmony that exists between how space is used in different cultures and societies, with certain subtle nuances. My art is the synthesis of life experiences I have had thus far: first as a child growing up in my native country Bangladesh, then as a teenager in Pakistan and eventually as an adult educated and living in the United States.

In my work, I am always looking for the balance between the physical and the spiritual aspect of space, of the materials used and the feelings evoked, as well as its relationship to the environment. I particularly want to explore the impact of Islamic art and design in contemporary buildings through the use of water, courtyards, geometric design, calligraphy, and textiles.

My work is an example of humanistic approach to design, prevalent in this time and age. A site specific video incorporating water, fire and calligraphy was created to fit the entire front wall of the digital media room. Through large-scale symmetrical video projection and sound-effects space was transformed into an environment that engages the viewer on many levels. A three dimensional calligraphic form in the name of “Allah,” complements the video as a central feature, which corresponds to the calligraphic header of the video. Contemporary stainless steel fabric in gold and silver draping around a steel column at the center creates the fluid sculpture. The column reflects the ontological axis of man as the most developed of all creatures with an intellect. The choice of materials both physical as well as virtual/video and its juxtaposition to each other in subtle ways echoes the contemporary times – cultures merging into one another and boundaries diminishing in some ways but increasing in others – an ambiguity that each of us encounters at all times evoking the feelings of an internal search and new dimensions to explore.

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