Amna Ilyas, Pakistan
Anne Percoco, USA
Ariel Elizabeth Churnin, USA
Ciara Foster, Ireland
Charlie Grosso, USA
Christopher Manzione, USA
Chutima Kerdpitak, Thailand/UK
Elaine Woo MacGregor, UK
Erin Lee Benson, USA
Jacqueline Norheim, USA
Jessica Pezalla, USA
Jon Rajkovich, USA
Josianne Ishikawa, USA/Japan
Joshua Haycraft, USA
Leonardo Aguinaldo, Philippines
Lillian Pease, USA
Lisa Iglesias, USA
Liz Jeneid, Australia
Marilynn Derwenskus, USA
Mark Dilks, USA
Natasha Mell-Taylor, USA
Renata Szur, Hungary
Rinaldo Klas, Suriname
Terry Wise, USA
Wendy Morrison Painter, USA
Previously I have been working with women interpretation from an object to an individual; I also used painting and drawing as well as sculpture to make works that initially made explicit reference to the position of women in Pakistani society. Early works featured groups of disembodied nude female body parts; however subsequently I have started experimenting with glass constructions and then a variety of materials process where I have developed theoretical interests through a series of experimentations with form.
This particular image (41 x 30 x 6.5 inches (Glass, silver, wood) is from my recent show at Aicon Gallery , London. Where I work uses mobile phone key pads, mirrors in order to make installations, related to a new order of thought, when I got back home after my residency at Vermont Studios center USA 2009.
It was almost as if it was a great ideological rupture, the conceptual anticipation of a new territory. The city's ebb and flow formed by reflective images of barb wire and birds and also the aura of the Taliban and the political leader captured by the media is something which is seeping into our everyday life in Pakistan today, as the earth and sky's constant mirror.”
http://www.artslant.com/la/artists/show/121820-amna-ilyas?tab=PROFILE
“My work can be understood in two different ways. Firstly it is a comment on the ways in which artists from Pakistan use domestic objects and everyday items in their practice either presenting them in their found state, transforming them or combining them with other elements. The second way is that the work pertains to the complex social and political realities that are present in everyday life in contemporary Pakistan. I am trying to make implicit or explicit references to this very specific set of circumstances. And of course a third reading could be that somehow in the hands of artists the stuff of everyday life can be re-worked or put together to begin to articulate some very complex realities.
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