In taking a leaf from works of Gulammohammed Sheikh, a just concluded exhibition, ‘A Floating Object’, as part of the Guild Collection – Series I – 2012’ was structured outward.
As an accompanying essay by Renuka Sawhney elaborated, “Threads are drawn from the center of each work, reaching outward to link with other centers but are not intended to form a composite whole. The works themselves form a center from which planes and angles emerge that may or may not coincide with the planes and angles emanating from other works.
The artist’s Mappa-mundi series is based on the Ebstorf Map, itself created sometime in the thirteenth century, is an example of a Medieval European map of the world. In the ancient map, the known world is represented with a circle and perspective within the map -of the people, places, roads and animals that inhabit this world- is geared towards the eye of the viewer.
In the same manner, his Mappa-mundi also shifts perspective toward the eye of the viewer. As such his work however, incorporates several openings, spaces between the roads and pathways into which the viewer walks and finds that hilltops are leaning toward bottom, while in another section, one sees cranes hanging upside down. In the center, a fort like building, painted in by Gulammohammed Sheikh, interrupts a panoramic photograph of Jerusalem, while underneath Japanese trees extend downwards like roots into soil.
The image of the map thus incorporates multiple images seen from multiple perspectives, in one place delineated by the circle formed around them. This ‘opening of an image in time’ also subjects time to a border as indicated by the circle, suggesting perhaps that this world and all its components are this world, and as such despite the border around its elements send the idea of time in several directions at once. In other words simultaneity extends not only to the multiple images but also to the time they inhabit, indicating that time is both a wave and a particle to paraphrase the theory of light.
As an accompanying essay by Renuka Sawhney elaborated, “Threads are drawn from the center of each work, reaching outward to link with other centers but are not intended to form a composite whole. The works themselves form a center from which planes and angles emerge that may or may not coincide with the planes and angles emanating from other works.
The artist’s Mappa-mundi series is based on the Ebstorf Map, itself created sometime in the thirteenth century, is an example of a Medieval European map of the world. In the ancient map, the known world is represented with a circle and perspective within the map -of the people, places, roads and animals that inhabit this world- is geared towards the eye of the viewer.
In the same manner, his Mappa-mundi also shifts perspective toward the eye of the viewer. As such his work however, incorporates several openings, spaces between the roads and pathways into which the viewer walks and finds that hilltops are leaning toward bottom, while in another section, one sees cranes hanging upside down. In the center, a fort like building, painted in by Gulammohammed Sheikh, interrupts a panoramic photograph of Jerusalem, while underneath Japanese trees extend downwards like roots into soil.
The image of the map thus incorporates multiple images seen from multiple perspectives, in one place delineated by the circle formed around them. This ‘opening of an image in time’ also subjects time to a border as indicated by the circle, suggesting perhaps that this world and all its components are this world, and as such despite the border around its elements send the idea of time in several directions at once. In other words simultaneity extends not only to the multiple images but also to the time they inhabit, indicating that time is both a wave and a particle to paraphrase the theory of light.
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