Embrace

Faulty proofs of RushHour 2016 were reworked using a scalpel, removing as much negative space as possible leading to the pages eventually coming together. As the layers piled, fragments began to merge, bleed and intersect requiring one to flick through each page to create their very own journey thus, Embrace 2019.

Embrace
Embrace

Size (CM) W:50 H:35.4

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Flicking through page 1

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Wire binding as a continuation of the etched marks

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Embrace
Embrace

Size (CM) W:50 H:35.4

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Bitumen & turpentine coated etching
Bitumen & turpentine coated etching

Mark making inspired by previous scrim remnants on Somerset Size (CM) W:14.5 H:17.2

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Water based coated ink etching
Water based coated ink etching

Scrim and foil remnants pressed in to the plate inked in similar colours to the copper foil on Somerset Size (CM) W:28.4 H:37.5

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Daydreaming Forgotten 02
Daydreaming Forgotten 02

Engraving multiplate inspired by the foil with chin collé printed on Fabriano Rosaspina Size (CM) W:25 H:35.5

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Bitumen & turpentine coated etching
Bitumen & turpentine coated etching

Mark making inspired by previous scrim remnants on Somerset Size (CM) W:14.5 H:17.2

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Appearance & Disappearance

 

Documentation becomes a starting point, conveyed via the photopolymers also a diverse visual language materializes through manipulation, construction and alteration.

This is signified with her additional reconstruction, weaving strands of duplicates together and a loss of traces, yet translating and evolving, still coming back to the marks physically produced by Akhtar’s hand.

Fragments

Subsequently, the engraving was taken forward with Daydreaming and Forgotten cut into strips. The strands rethreaded overlapped, concealed and revealed the visuals. This fragmented approach led to relief printing, taking inspiration from Highbury Hall’s interior, resulting to a larger selection of nature, pattern and their organic forms.

 

Evidently Infinite and Interconnected were reassembled as a continuation, taking stimulation from the lino itself piecing different iterations back together, encouraging the significance of alteration within her practice.

Deconstructing the engravings taking inspiration from weaving using the copper itself

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Deconstructed and reconstructed sculptural form implying a calligraphic sense Size (CM) W:4 H:3

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The tiniest copper sculpture creating a blur with the fragments scattered in the background

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Deconstructing the engravings taking inspiration from weaving using the copper itself

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Untangled Thoughts
Untangled Thoughts

Size (CM) W:59 H:21

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Untangled Thoughts opened ready to be read

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Fragments echoing the wire meshes which also echo the metals I've etched and engraved, adding a further dimension drawing one closer, in and around the publication alongside installation

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Untangled Thoughts
Untangled Thoughts

Size (CM) W:59 H:21

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Untangled Thoughts

An experimental publication was produced inspired by the Japanese Fold, which entailed layered drawings of maps on tissue paper and newsprint, compiled and hand stitched as a development of Akhtar’s handwritten ideas.

 

The compilation of the publication in a journal-like object strengthens the fragility and delicacy evidenced through the stitching and layering within her work, articulating a sense of repetition and movement central to the heart of her practice.

Tangled Thoughts

 

These included engraved embossed paper sculptures, scripted newsprint and green sugar paper cut outs, also comprised of a deconstructed narrative spoken by her mother during a tough time. The inability to move on and away resulted in conflicting disparate memories, pre-empting silence thus the following phrases cut in Urdu:

خدا حافظ

ایک دن

صرف میں

صرف می سمجھتا ہوں

Installation shot of Untangled and Tangled Thoughts

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Newsprint fragment reading خدا حافظ scattered on the floor as memories fading away and away

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Close up of the embossing manipulating the printing paper prior to printing, thus the fold and deckled edges

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Installation shot of Untangled and Tangled Thoughts

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