Many of artist Yusuf Arakkal’s works have been featured in some of the world’s most renowned museums like the Museum of Modern Art, Louvre Museum, museums in Scotland and South Africa, as well as the British Museum, which showcased his portfolio, entitled ‘The Textures Of Silence’, prints of his Chinese Ink artwork.
All these institutions accept only those works that meet their stringent standard. Importantly, these works have generated funds, diverted to social causes, a fact that satisfies him as much as recognition as artist. For example, one at MOMA was auctioned to generate money for AIDS patients. His work, ‘HOPE’, in MoMA's collection 2010, formed part of a charity initiative in Durban, South Africa.
Gradually, the figures 'fused' into the background. In the 70's, he indulged in figurative art, recollecting his struggle, reviving images from his past. His early paintings were akin to studies in abstract of city dwellers’ lives, done mostly in bright colors. Later, his growing inclination to identify with social issues started reflecting in them. According to him, he makes a consciously effort to synthesize the figurative and abstraction.
Though colors are important to him, they seemingly define and denote darkness; moving more towards black. He often tones down the exuberance of flaming colors to the dictates of his inner force. In fact, the darker the colors, the more lively they become to him. For him black remains the strongest color. Having studied the works of Vermeer and Rembrandt, he was fascinated by the usage of light in their artworks, especially Rembrandt. His focus is as much on the texture of his canvases, often imparting then a grainy, rough surface, alluding to peeling and cracked walls.
'An Inner Fire' by him revolved portrayed many faces - some pleasant, some familiar, and some rather strange, half-concealed and barely visible - created from memory. They provided acute glimpses of ubiquitous human faces, their pointed expressions, and intense emotions. Many of his paintings feature a forlorn figure, simply standing or restlessly sitting on the edge.
The face, he reveals, whether of a woman or man, is himself, a quiet observer; and alone. He adds, "I’ve been painting this (character) for over 20 years; I am not bald, I am not a woman, but still am sure it's me!"
All these institutions accept only those works that meet their stringent standard. Importantly, these works have generated funds, diverted to social causes, a fact that satisfies him as much as recognition as artist. For example, one at MOMA was auctioned to generate money for AIDS patients. His work, ‘HOPE’, in MoMA's collection 2010, formed part of a charity initiative in Durban, South Africa.
Gradually, the figures 'fused' into the background. In the 70's, he indulged in figurative art, recollecting his struggle, reviving images from his past. His early paintings were akin to studies in abstract of city dwellers’ lives, done mostly in bright colors. Later, his growing inclination to identify with social issues started reflecting in them. According to him, he makes a consciously effort to synthesize the figurative and abstraction.
Though colors are important to him, they seemingly define and denote darkness; moving more towards black. He often tones down the exuberance of flaming colors to the dictates of his inner force. In fact, the darker the colors, the more lively they become to him. For him black remains the strongest color. Having studied the works of Vermeer and Rembrandt, he was fascinated by the usage of light in their artworks, especially Rembrandt. His focus is as much on the texture of his canvases, often imparting then a grainy, rough surface, alluding to peeling and cracked walls.
'An Inner Fire' by him revolved portrayed many faces - some pleasant, some familiar, and some rather strange, half-concealed and barely visible - created from memory. They provided acute glimpses of ubiquitous human faces, their pointed expressions, and intense emotions. Many of his paintings feature a forlorn figure, simply standing or restlessly sitting on the edge.
The face, he reveals, whether of a woman or man, is himself, a quiet observer; and alone. He adds, "I’ve been painting this (character) for over 20 years; I am not bald, I am not a woman, but still am sure it's me!"
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