Amwaz-E-Takhayyul by Ghazali Moinuddin at MF Hussain Art Gallery Delhi from January 18-25, 2014

Though Ghazali has come out with a series  of paintings on the majestic  mountains Ghazali an art teacher rarely travels to a hill stations.

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According to Ghazali – “It has been ages  since I have been to a hill station. All the 45 paintings have come through my imagination. Even when I am confined to a room surrounded by books and magazines, my mind transports me to a serene hill station where the beauty of Himalayas leaves me in a trans”, Moinuddin says.

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His work does not only serve solely as a means of expressing the painter’s admiration of nature but he also feels strongly that painting has a task of its own to accomplish in the service of imaginative life.

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The artist has developed a style which is in keeping with the thirst of mankind’s inner needs. Here there is a greater and starker simplicity, which is expressive, natural seeming, and free from ornamental impedimenta of any kind. In this way the socio-cultural function of painting is extended. Instead of relying on the fortuitous, painting is given content by artistic values belonging to all time, and of a significance at the best of times.  Well it is in some such ways all good artists work.
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The traditional realistic manner, based on observation of the changing appearances of nature, is felt to be inadequate. Means are thus sought to enhance the interpretation of the inspirational idea. Distracting and superfluous accretions are mostly eliminated. The main themes, having thus been isolated and set free from all the accidental circumstances, are given a new environment in which ideal spatial dimensions replace those of the nature, facilely apparent to the unaided, naive eye.

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It is how a fresh pictorial convention develops whose chief characteristics are a twin-dimensional scheme of composition, a firm yet spontaneous seeming stylisation of the forms of nature in depth, and a symbolic content.

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Already in Ghazali’s early experiments, there have been meaningful uses of line and colour. Here the drawing turned objects – organic or inorganic – into visual images which took over the artist’s argument and sustained it. But soon the painter seems to have dropped the excessive narrative content – ifany –and so the close-knit compositions and the rhythmical groupings of forms proving themselves to be pictorial elements of sufficient importance for further development.
In some of his showings the painter applies new possibilities directly, without any justification or a literary content. In these paintings he breaks with the descriptive, the anecdotal, and the atmospheric. Pure forms in their elementary capacity, completely visible in their stiff, vertical or horizontal seams and layers are the materials with which the compositions are their rhythmically constructed at their chosen best
About Ghazali Moinuddin, a Painter and professor of Fine Arts at Jamia Millia Islamia, based in Delhi was born on September 18, 1977. After acquiring BFA (Bachelor of Fine Arts) in 1999 from Jamia Millia Islamia he persued MFA (Master of Fine Arts) in 2001 from the same university. Nothing can beat Ghazali’s appreciation and talks of nature or its admiration. The artistes’ endeavour is to bring out the subtle and aesthetic beauty of nature through his works. The strokes in Ghazali Moinuddin’s canvasses are born out of a tube of acrylic and his deft fingers.
Exhibitions
Nuqoosh-e-fitrat at Visual art gallery, India Habitat Centre, New Delhi (May 12-16 2013)
SOLO EXHIBITION: QAUS-E-QUZAH at All India Fine Arts and Crafts Society, 1-Rafi Marg New Delhi during May 1-7, 2008

GROUP SHOW: ABHIVAYKTI
State Lalit Kala Academy Lucknow, UP May 21-24, 2008
Third Indian contemporary miniature painting and sculpture exhibition organised by Nav Siddhartha Art Group at Lalit Kala Academy New Delhi 2008. He has also participated in a group show ‘India on Canvas, Junior’ organised by the Ambassador of France and Khushi – an NGO on October 19, 2008 at Embassy of France, New Delhi. The artistte has also took part in a group show for flood affected people of Bihar, organised by Modern School, Barakhamba Road, New Delhi, in 2009.
•     All India group show by fusion Art Foundation Chitra Kala Parishad Banglore.
•    Participated in a group show “Home Alone” held in the Ensign Gallery, Geetanjali Marg, Geetanjali Enclave, Malviya Nagar New Delhi,New Delhi in 2010
•    Participated in the “Second International Art Exhibition” 2012, 25th-29th February 2012 at Punjab Kala Bhawan, Chandigarh, India
•    Contemporary art exhibition 2012 Rabindar Bhawan Mandi House, New Delhi.
ARTIST CAMP:
•    Participated in an Artist Camp organized by Khushi – a renowned NGO, in 2008
PARTICIPATED IN UNIVERSITY ACTIVITIES
•    Participated in Kalam Festival in 1995, 1996 & 1997
•    Assisted in the University Decoration Committee during foundation day, Jamia in 1996, 1997 & 1998
•    Assisted in an Educational Tour of the whole Department to Ajanta and Ellora (Aurangabad) in 2000.
About Ghazali Moinuddin Painting:
Though Ghazali has come out with a series  of paintings on the majestic  mountains Ghazali an art teacher rarely travels to a hill stations. Ghazali says: “It has been ages  since I have been to a hill station. All the 45 paintings have come through my imagination. Even when I am confined to a room surrounded by books and magazines, my mind transports me to a serene hill station where the beauty of Himalayas leaves me in a trans”.
His work does not only serve solely as a means of expressing the painter’s admiration of nature but he also feels strongly that painting has a task of its own to accomplish in the service of imaginative life. The artist has developed a style which is in keeping with the thirst of mankind’s inner needs. Here there is a greater and starker simplicity, which is expressive, natural seeming, and free from ornamental impedimenta of any kind. In this way the socio-cultural function of painting is extended. Instead of relying on the fortuitous, painting is given content by artistic values belonging to all time, and of a significance at the best of times.  Well it is in some such ways all good artists work.
The traditional realistic manner, based on observation of the changing appearances of nature, is felt to be inadequate. Means are thus sought to enhance the interpretation of the inspirational idea. Distracting and superfluous accretions are mostly eliminated. The main themes, having thus been isolated and set free from all the accidental circumstances, are given a new environment in which ideal spatial dimensions replace those of the nature, facilely apparent to the unaided, naive eye. It is how a fresh pictorial convention develops whose chief characteristics are a twin-dimensional scheme of composition, a firm yet spontaneous seeming stylization of the forms of nature in depth, and a symbolic content.
Already in Ghazali’s early experiments, there have been meaningful uses of line and colour. Here the drawing turned objects – organic or inorganic – into visual images which took over the artist’s argument and sustained it. But soon the painter seems to have dropped the excessive narrative content – ifany –and so the close-knit compositions and the rhythmical groupings of forms proving themselves to be pictorial elements of sufficient importance for further development.
In some of his showings the painter applies new possibilities directly, without any justification or a literary content. In these paintings he breaks with the descriptive, the anecdotal, and the atmospheric. Pure forms in their elementary capacity, completely visible in their stiff, vertical or horizontal seams and layers are the materials with which the compositions are their rhythmically constructed at their chosen best.

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One thought on “Amwaz-E-Takhayyul by Ghazali Moinuddin at MF Hussain Art Gallery Delhi from January 18-25, 2014

  1. Maash Allah. Amazing works.
    May Allah gives you success and more enlightment in the World of arts.
    It’s truly stunning …..

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