Simeen Farhat, ‘There Seems An All’, 2014, Watermill Center Summer Benefit Auction 2014

Estimate: $10,000.
Using cast resin, Simeen Farhat converts epic Middle Eastern poems that call for freedom of thought into delicate yet dynamic three-dimensional forms. The poetic phrases become abstracted as she deconstructs the texts and layers letters, creating sculptural compounds of words.

"Before becoming this promising and visual melody of words, with shades and tints of grey and blue--sprouting, twisting and turning in and out--I was conceived and written as poetry in English, expressing feelings and colorful possibilities about a nascent future. But now, I am also given a visible form with transparency and translucency, representing my lucid thinking, juxtaposed with own essence--my poetic words--morphed into lines, curves and shapes. My colors that I draw from the iris of human eye, speak to the eyes of my viewers. I am aesthetically dynamic. I move from one form to another back and forth—from poetic to visual. Although, my visual language does not follow rules of grammar, I still remain true to my very existence: I am language and I am expressive; conceptually and visually. My name is There Seems An All." - Simeen Farhat

The work is based on Poetry by Brett Bourbon:
You don’t want God. Nor do I
Want God. Yet love seems;
Belief seems; X seems.
And fear, whatever fear, we fear.
And all—I am not wanting all,
But there seems an all Unhurt, unhurt and fierce.

Image rights: Courtesy of the artist and Kashya Hildebrand Gallery, London

About Simeen Farhat

Simeen Farhat engages the power of language and issues of identity in spirited, graceful sculptures. Using cast resin, Farhat renders epic Middle Eastern poems that call for freedom of thought in delicate yet chaotic three-dimensional forms. As she deconstructs the texts and layers individual phrases into sculptural word compounds, the overarching meaning of the ballads becomes abstracted. In this way, Farhat both laments forgotten freedoms and celebrates the cultural history of her native Middle East. Her installations have also incorporated ghostly, shrouded female figures that reference gender inequality, a pervasive example of contemporary oppression.

Pakistani , b. 1968

Group Shows

Fair History on Artsy

Gallery Kashya Hildebrand at Contemporary Istanbul 2014