JAMIL NAQSH RETROSPECTIVE: ALBEMARLE GALLERY, LONDON 2011
Text: Marjorie Husain & Alison Darnborough
Photography:
The retrospective exhibition of Jamil Naqsh’s work mounted at the Albemarle Gallery, London W1 in July 2011, comprised of paintings produced by the artist within the past five years.
I had been privileged to view the work during this time as Naqsh always generously opened his studio for me on visits to his London home. I was particularly excited by his latest work which referred to his early years as a struggling artist in Karachi. In those days, before the establishment of art schools and advertising agencies in the city, there was little employment available for artists. Oil paint and canvases were unaffordable luxuries. Instead Jamil and his peers would explore the old books and paper markets situated off the Bunder Road, and acquire foreign newspapers to use as surfaces for their work. When Jamil first shared his `newspaper paintings’ with me, initially, gazing from a distance, it seemed to me that he had pasted newspapers on a board surface and painted over them. On a closer examination, I realised that every gesture of the work was painted, and the artist had reproduced facsimiles of newspaper print with his brushwork of marks, dots and gestural lines, and the result were astounding. I admit that on my first introduction to the work, the memories evoked in this reference to his early years were extremely moving.
It was a source of satisfaction to learn that Jamil Naqsh would show his work at the prestigious Albemarle Gallery, London, and one has to thank Edward Lucas Smith, Art Historian, Critic and writer, and Tony Pontone of the Albemarle Gallery for this very important event.
As the co/curator of Jamil Naqsh’s extensive retrospective at the Mohatta Palace 2003, I was determined to be there at the opening of the artist’s exhibition in London, and had planned to meet my friend, Alison Darnborough - who was to make the trip from Bradford University to London, so that we could visit Jamil Naqsh’s exhibition together. Alas, as John Lennon said, “Life is what happens when you are making plans.” Though it was impossible for me to reach London, Alison stuck to our plan and went alone to the exhibition.
Subsequently I heard that it was a great success, that many people attended and numerous art collectors were able to acquire beautiful pieces for their collections.
Photography:
The retrospective exhibition of Jamil Naqsh’s work mounted at the Albemarle Gallery, London W1 in July 2011, comprised of paintings produced by the artist within the past five years.
I had been privileged to view the work during this time as Naqsh always generously opened his studio for me on visits to his London home. I was particularly excited by his latest work which referred to his early years as a struggling artist in Karachi. In those days, before the establishment of art schools and advertising agencies in the city, there was little employment available for artists. Oil paint and canvases were unaffordable luxuries. Instead Jamil and his peers would explore the old books and paper markets situated off the Bunder Road, and acquire foreign newspapers to use as surfaces for their work. When Jamil first shared his `newspaper paintings’ with me, initially, gazing from a distance, it seemed to me that he had pasted newspapers on a board surface and painted over them. On a closer examination, I realised that every gesture of the work was painted, and the artist had reproduced facsimiles of newspaper print with his brushwork of marks, dots and gestural lines, and the result were astounding. I admit that on my first introduction to the work, the memories evoked in this reference to his early years were extremely moving.
It was a source of satisfaction to learn that Jamil Naqsh would show his work at the prestigious Albemarle Gallery, London, and one has to thank Edward Lucas Smith, Art Historian, Critic and writer, and Tony Pontone of the Albemarle Gallery for this very important event.
As the co/curator of Jamil Naqsh’s extensive retrospective at the Mohatta Palace 2003, I was determined to be there at the opening of the artist’s exhibition in London, and had planned to meet my friend, Alison Darnborough - who was to make the trip from Bradford University to London, so that we could visit Jamil Naqsh’s exhibition together. Alas, as John Lennon said, “Life is what happens when you are making plans.” Though it was impossible for me to reach London, Alison stuck to our plan and went alone to the exhibition.
Subsequently I heard that it was a great success, that many people attended and numerous art collectors were able to acquire beautiful pieces for their collections.
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