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| Anila Agha |
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I see myself as a two dimensional artist working in mixed media. My interest in working with textile processes is due to the many social issues inherent in the Fiber field. The sense of history and residual memory through the addition of dyes, wax, coffee or tea stains, adds to the depth of meaning of the waxed paper surfaces. The embroidery is used as a drawing medium, connecting and bridging the gaps of the many layers that result from my explorations of concept and process.
My artwork is made up of series of drawings that relate and connect through basic concepts of social and gender based issues that result from our contemporary environment. The act of exposing memories when made in reference to gender complexities brings out strong emotional responses. I find it fascinating to see an imprint of an image left behind on paper, before and after the manipulation of dyes, wax and embroidery. I am intrigued by the frail and ephemeral reminders of things of the recent or distant past encompassing impressions of tradition, culture and mores. The juxtaposition of near and distant, past and present, feminine and masculine are a clear indication to me that all of life is entwined.
My current work is a series of drawings incorporating translucent and opaque effects on paper in combination, representing the many facets of eve in the abstract. Through the use of the formal elements of form, color, and patterning the end result is that of a very therapeutic encounter with the sublime. The embroidered circles are used symbolically to represent completeness or lack thereof. The approach is methodical and somewhat minimal. However the additive and subtractive element of actually creating apertures on the picture plane and then sewing them back in, will raise questions in the viewer’s mind and encourage an abstract participation. Perhaps the exit may be in a questing mode.
For the art project, Out of Site: An Altered Environment, I created four drawings in sets of two. The size is small and intimate and easily portable. I decided to place these drawings inside four books that deal with women and their works, hoping for a dialogue being created by the reader, artist (me) and the book. The reader is free to take these drawings, or in turn place them in other books about women in the same location thereby creating continuity and an on-going dialogue, within the established environment.
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