F. Tarannum Profile   |    Summary If one does not watch out, the exclusive pursuit of what is called ‘abstraction’ in art, can become a kind of dead end. Subjectively satisfying, but contributing no more than a minute fraction of value to the rich ensemble of lived values that can be experienced from works of art. After all, there are enjoyments on a sensory plain, as the kinetic, the emotional, as well as the ideational. How can you ignore any one of those? Both the implicit... Read More If one does not watch out, the exclusive pursuit of what is called ‘abstraction’ in art, can become a kind of dead end. Subjectively satisfying, but contributing no more than a minute fraction of value to the rich ensemble of lived values that can be experienced from works of art. After all, there are enjoyments on a sensory plain, as the kinetic, the emotional, as well as the ideational. How can you ignore any one of those? Both the implicit as the explicit, that is, the subconscious as the conscious levels ought be expressed in works of art in unison. I may say, that I am fully aware of the pit-falls of abstraction. I mean that mere whim, or fancy, disconnected from the context of life are paltry. But then I have tried my best to yoke abstraction to sundry disciplines: to the laws of colours in nature, to a rapport with the well-grounded, authentic principles of the surrounding physical universe. The root forces of our terrestrial being - like gravity and light - result in colours, as much as form. They feed art, and so feed the human spirit. Made up of organic substances, we become innerly responsive to the inorganic as well. Given a fully intuitive awareness of the vital forces, and the abstract or invisible relations behind the appearances of nature, and the ‘dead’ seeming universe can becomes sacral in our eyes. I am working out compositions that in some ways answer to our spiritual needs, among them the joy of the recognition of the ‘mute’ inorganic reality. I want the viewer to become charged once again in the course of his diurnal, rather humdrum existence. I want my work to give out more than surface allure. Abstraction, at good moments, can, after all, truly create. It need not be simply harmless. By its rigorous precision it can exact acts of cognitive vision, embellishing them with sensory cum emotive connotations. Such expressiveness does not necessarily cut us of from horizontal existence; it can be relevant and adult; artistically detached; unsentimental; non-illustrative. Abstraction does not parrot nature naively, but furthers nature’s creative purposes through the via media of paint and line, plus the artist’s cunning. It is this order of abstraction that is uppermost in my mind. Though my work does not speak overtly, it hopes to excite the slumbering nine tenths of our psycho-somatic being. It is such a vein I wish to pursue further, and with greater maturity in the foreseeable future. If I happen to shift away from my present engagement, it would be only because, by then, I have exhausted my inspiration in the line, and so on to fresh pastures. Read Less Born 1968   Uttar Pradesh Education 1996 Art Appreciation (Art & Culture) from National Museum, New Delhi 1989 B. A. (Literature), Aligarh Muslim University, Uttar Pradesh 1989 Studied Painting under Mr. Rameshwar Broota at the Art Department of Triveni Kala Sangam, New Delhi Exhibitions Selected Solo Exhibitions 2008 'Recent Works by F. Tarannum',... Selected Solo Exhibitions 2008 'Recent Works by F. Tarannum', Art Heritage Gallery, New Delhi 2007 'Explorations', Art Heritage Gallery, New Delhi 2003 'A Rendezvous with Light', India International Centre, New Delhi 2000 'Recent Works by F. Tarannum', Triveni Art Gallery, New Delhi Selected Group Exhibitions 2006 'Silent Dreams, Voluble Realities', Bagash Art Gallery, Dubai 2006 'Celebrating India, TRYO', New Delhi, Mumbai, Chennai, Kolkata 2006 'Artists of India', Foundation for Arts, New Delhi 2005 'Weaving Legacy V', Indian Art Circle, New Delhi 2005 Taj Blue Diamond, Habiart Foundation, Pune 2004 ‘Emerging Directions 2004', Apparao Galleries, New Delhi and Chennai 2004 ‘Spirit of Century’, Kumar Gallery, New Delhi 2004 ‘Revert to the Nucleus Women on Women', Indian Art Circle, New Delhi 2003 Art Folio, Chandigarh 2003 Quill & Canvas, Gurgaon, Haryana 2003 2nd Contemporary Miniature Painting, Garhi, New Delhi 1999-2000 Punjabi Bhawan, New Delhi 1998 Art camp organised by Sahitya Kala Parishad, New Delhi 1998 Gandhi Kala Mela organised by Gandhi Darshan Samiti, New Delhi 1998 Yuva Mohotsav organised by Sahitya Kala Parishad, New Delhi Participations 2006 'Harvest 2006', Arushi Art Gallery, New Delhi. 2005 ‘10th Harmony Show', Nehru Centre, Mumbai 2004 ‘28th Annual Art Exhibition', Sahitya Kala Parishad, New Delhi 2004 '46th National Exhibition', Lalit Kala Akademi, New Delhi 2003 ‘27th Annual Art Exhibition', Sahitya Kala Parishad, New Delhi 2002 ‘Second Northern Region Art Exhibition, Camlin Ltd.in Professional Category 2002 74th Annual All India Art Exhibition, Phase-II, All India Fine Arts & Craft Society (AIFACS), New Delhi 2002 ‘India Festival in Germany', Aorta Association Gallery, Germany 2001 ‘First Northern Region Art Exhibition by Camlin Ltd. in Professional category 2000 71st Annual All India Art Exhibition, Phase-II, All India Fine Arts & Craft Society (AIFACS), New Delhi Read More Read Less Read Less
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