I found I could say something with colors & shapes that I couldn't say any other way - things I had no words forUzma Sultan
30 April - 11 May, 2015
UZMA SULTAN, in 1997-99 completed her MFA (Painting) from The Slade School of Fine Art, University College London; BA(Hons) Fine Art from Wimbledon School of Art; 1993-94 Chelsea College of Art & Design, Foundation. 2003-4 she was the Teaching Assistant at The Slade School, Woburn Square
Uzma had 4 solo shows in Pakistan and has exhibited internationally at The Cut Gallery, Waterloo, London; J.Walter Thomson, Berkeley Square,London; Whitechapel Project Space,The Discerning Eye- The Mall Galleries; Mostyn Open, Oriel Mostyn Gallery, Llandudno; RBSA Prize Exhibition, RBSA Gallery, Birmingham; The Inspied Art Fair, London, Lynn Painter- Stainers Prize Exhibition, Painter's Hall; Arts Unwrapped, Cremer Street; Krystal Clear, Josetti Hofe; Rungestrabe, Berlin; Hackney Arts Festival, Hackney Downs, London; Unhinged Arts Festival at The Electric, Brixton, London; 'Coligere' Takt AIR Group Show, Weserstrasse 11,Berlin;2014 Liverpool Independents Biennial, UK.
In 2014, she completed her Artist in Residence at Glogauair, BERLIN, where she worked on a project on how food is commercialized and advertised. Most recent show has been in the 2014 Liverpool Independents Biennial, UK and this year will be at the Loci loft in Berlin.
Uzma Sultan lives and works in London and Karachi.
She paints on canvas, board and on diverse supports like Aluminium and patterned vinyl.
From the receding interior spaces of the boudoir, shrine or sitting room in Uzma Sultan's earlier paintings, the flattened and patterned surface has come surging forward in her recent works, painted both in Karachi and as part of a residency at Glogauair in Berlin. Including stacks of Tibet powder and cooking oil tins, a crowd of painted vehicles, and a multiplied bed of charpoys viewed from an impossibly high angle, these paintings are rendered with Sultan's characteristically crooked figuration. In the last case, Sultan appropriates the stacked perspective of the early miniature tradition, flattening and tipping the horizontal plane upwards and towards us.
Alternately exaggerating and muting particular colours, the patterned surfaces that Sultan's paintings represent are vibrant, and yet also rather barren. Most particularly, these paintings reflect the joy of the mark, of pushing colours against each other like unhappy lovers. They reflect the dance of paint on matter, in this case on impervious surfaces such as aluminum, vinyl or perspex.
These works flirt with ugliness, with the shaky gesture of the brushstroke, and with the imprecision of an unplanned composition. They demonstrate that painting, in the end, is not only about painting pictures, but about making paintings. About the painful pleasure of paint, colour, surface and form.