Cultural Index: Eastern sculptures

THE EDGE Wednesday, 07 January 2009 08:00

Amin Gulgee cuts a striking figure tall, well-built and with a booming voice, the renowned Pakistani sculptor immediately engages you with his lively personality. Oozing dynamism and charisma, Amins passion for what he does is evident in the animated way he talks about his works, which are currently on display at Galeri Petronas.

His exhibition, Drawing the Line, consists of 26 works, half of which are old pieces owned by private collectors in Malaysia, while the other half are new. The collage of his works, with some dating as far back as 1996, provides a glimpse into Amins various creative phases throughout the years.

And indeed, what a varied array of works there are, all of which point to Amins versatility as an artist and sculptor. The medium of choice for most of his works is copper, and there are futuristic, architectural pieces juxtaposed with curvy calligraphic works, as well as figurative works that depict leaves, hands and even an egg interspersed throughout. To fully appreciate his works, you have to view them from different angles and distances. They are arresting to behold from afar, but even more so up close, for it is then that you see the intricate details that Amin has so meticulously worked into the sculptures.

I dont sketch or draw anything, Amin says of his creative process. Whenever I go into my workshop, I want to discover for myself. I want to be challenged. I like the process of discovery, so I just let it go where it goes. Amin reveals that his works are autobiographical in the sense that they capture a certain moment in time for him as an artist. However, there is one constant theme that he has dealt with since his work began, and that is his fascination with Islamic art.

A portion of my work deals with Islamic calligraphy and Im very interested in bringing it into the sculptural realm. Islam has a great tradition of metalwork and architecture and part of my works combine those two traditions, he says. A complicated piece of intertwining script titled Ocean II, from 2004, was based on a verse from the Quran that says, Which of the favours of God can one deny? Amin uses the Eastern Kufic script to sculpt this verse, but repeats it eight times so that its no longer readable. Another one, titled Motion, can actually be read, and it says, God taught humankind what it did not know in Nakshi script.
One thing youll notice about Amins sculptures is that he likes to revisit old works and themes. Fragment I and Fragment II are sections taken from Motion and augmented. He explains that he likes the challenge of keeping it within specific parameters a particular line from the Quran and in a certain script and replicating that.

A stark contrast from the filigree-like calligraphic works are the boxy, structural pieces, such as Habitat. I was fascinated by pure form, in particular the cube. In this piece, I divided and subdivided the cube. It has Alhamdulillah and Allah in Square Kufic script but you can only read it if you look back down upon it, he says, adding that he also incorporated mathematical equations the divisions of 12, eight and four into the sculpture. The works Steps III, Metropolis II and the massive One on Three also see him playing with cubism.
In his 2008 works, Amin shifts gears yet again with a series of figurative sculptures. Of particular note is a self-portrait that has chopped up pieces of Amins face melded together. Called 47, the sculpture pays homage to 1947, the year of partition between India and Pakistan in which many people perished, says Amin.

A rather morbid but intriguing series, called Ripping the Birds Nest I, II and III, depicts a bunch of hands immortalised in the act of destruction. Explains Amin, The use of hands, for me, is very emblematic of humankinds ability to create and destroy.

In Embedded Line I, II and III, Amin looks to Islamic calligraphy once again, but unlike his earlier works, these pieces outline the form of the script. This is really new for me, says Amin. Its the closest Ive come to drawing my work. Ive taken a line (from the Quran) and created a silhouette of the letters, and they sort of dance off the ground. Movement is something thats really important to me.
Amins breadth of work points to a creative vision that is indisputably and inimitably unique. You could say that creating art is in his blood, seeing how both his parents were prominent artists in Pakistan. But the truth is, Amin never wanted to become an artist. I looked at my parents who were both artists and thought, This was a horrible life, even though they were really successful. I always thought I just dont have it in me; I just dont want this lifestyle. But try as he might to carve out a different life for himself, fate dealt him a backhanded stroke.

As he tells it, he enrolled in Yale University as an economics student, but did not enjoy it at all. In his second year, a friend took him to an art history class on Baroque art, and that was the start of a gradual but steady descent into the world of art. He recalls, I really did not like Baroque art, but the professor was so passionate and so intelligent. Art history is all about argument and she had a very eloquent way of putting forth her arguments. Just sitting there and watching great artworks explained with passion and intelligence, suddenly I started seeing art in a whole different perspective. So I fell in love with art. Amin ended up graduating in both economics and art history.

Why metalwork specifically? Amin says his fascination with metals began even as a child. I was really interested in how things are welded, all the techniques, and metal has a big range of techniques. Copper has always been his metal of choice it has great elasticity and longevity, he says although he does sometimes incorporate iron, brass and other materials into his sculptures as well.
Says Amin of the experience in making his works, Sometimes its the lowest you can possibly be, where you hate everything and youre so frustrated and you want to tear everything apart. And then there are other days when it just happens, and it feels like it happens by itself. Its an out-of-body experience; it feels electric. It gives me an unbelievable high. Drawing the Line is on display at Galeri Petronas, KLCC, until Jan 18. Gallery hours are 10am to 8pm (Tues - Sun). For more information, call (03) 2051 7770.

By Anandhi Gopinath