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Corrigendum
In the last issue of Gallery, a previous review of Naseer Bhurgri’s work had been mistakenly received and published. Below is the review, in brief, of his latest work.
— Ed
In an exhibition held at the Chawkandi Art Gallery, one finds Bhurgri no longer interpreting his models as a set of man made objects, they have now taken on the muscles, bones and limbs of human beings, perfectly proportioned but again, representing identical, unnamed, individuals. The clues to their identities are found in the helmets worn or on thick, buckled belts.
Bhurghri’s subjects are posed in obvious ways; a runner crossing the winning tape is outstanding and subtly suggests strain and effort in the body language. As the artist explains, the winner is manipulated by expectations of society.
The work articulates concern for the fate of humankind, as young artists of today are confronted with the deaths of nameless people on an enormous scale. The victims and their families — unwept and soon forgotten in numbers — play a major role in Bhurghri’s art ethos. He incorporates wry twists in references to the forms of sculpted athletes as revered in early art history, and the portraits in which subjects were identified by their surroundings, great land holdings or richly described halls; as opposed to the artist’s recognition of the importance of the undocumented heroes.
Bhurghri, is an artist focused on his work and striving to recognise and resolve his aesthetic problems. Quietly observant and thoughtful, he has the makings of a socially conscious painter. One finds indignation and perception in his images, and he is fortunate to have the coherence, art training and inherent skill to express his viewpoint.
Although his subject is extremely relevant, most impressive is the skill and discipline one finds in his work. Using board surfaces — the largest in show four by five and a half feet — he outlines the subject of the composition and proceeds to cover the surface of the work with intricate patterns of cross hatching — a method that is extremely laborious, taking days and nights of work with graphite — the forms of the subject are then worked in, the last stage is the lightly layered application of acrylic paint.
— Marjorie Husain
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