This exhibition will involve an installation covering nearly 36 sq. meters alongside painting and sculpture by Abu Jafar, a British international artist
Exhibition RONG is a little reflection of Jafar’s work over two decades artistic journey in the UK and abroad.
Abu Jafar (Visual Artist / Sculptor) is an acclaimed leading British International artist and Philosopher of the arts who lives and works in United Kingdom. Born on March 21, 1968 in a small village called Jhilna, Patuakhali, Bangladesh.
He studied fine arts, painting and drawing at the Institute of Fine Arts, University of Dhaka, Bangladesh 1984/89, Master Drawing of the human figure at the Guildhall University, London 1989/90, Art and Art History at the Goldsmith’s College, University of London 1991/92 and Philosophy of Arts at the Open University, 1997 UK. In 2007 Become an Associates Member of the Royal British Society of Sculptors, He becomes a Fellow of Digswell Arts Trust 2011 and 2009 become a Member of Sculpture Network.
Please join us for the Open House on Thursday 1 October, 6pm in both the Lower Cafe Gallery and The Mezzanine.
‘Jafar’s grasp of subject power of vision and ability to assimilate may surprise many’
Writer Anis Choudhury-Dhaka
‘Abu Jafar is a committed and established artist with a strong exhibition record in the UK. His use of a rich range of media and breadth of concern have earned the artist the wide respect of his peers in London’
Marjorie Allthorpe-Guyton, Director of Visual Arts, Arts Council of England
‘Abu Jafar is a very energetic and gifted artist who has worked in a wide range of media, including installation/ performance as well as sculpture and painting.’ Isoble Johnston, Curator, Arts Council Collection
‘His installations are placed in our public spaces – in amongst our everyday lives. Their beauty and lack of pomp garners our curiosity – we approach them openly. Curiosity is the most wonderful of human instincts because it removes us from the momentum of our day lives and it opens our minds. In opening our minds we can explore new ideas, imagine positive change and therefore create our own new sense of coherence. This coherence gives us hope; hope gives us the ability to create our own futures based on the new context we find ourselves in. Abu’s work isn’t an explanation of hope, it is a gift of hope to those who engage with it’ Anne Cunningham, Chief Executive, The Art House
‘Hope can be static and even negative but a positive form of hope perhaps involves the movement of a journey. Abu Jafar’s series of installations invites a ‘journey’ from one to the next, but the viewer can also journey among them, catching the changing reflection of light through the various piece of coloured glasswork, studying the carving lines of patches of colour inscribed on each installation… Making meanings of all this can be seen as a form of fruitful involvement, of hope’ Mark Treharne, Author
‘What impresses a viewer a Jafar’s painting though his meager output not withstanding, is a sense of total dedication that he brings to in his work. One feels that Jafar is pouring out his whole being in his work, which speaks of his deep convictions and his belief in humanity and the power of love to transform the world, Amour Vincent Omni a could as will be a natural theme for Jafar’ Professor Dr. S. Manzoorul Islam, University of Dhaka
‘His work is vibrant in colour and depicts the brighter side of lie, paintings of internal love between man and woman as well as humanity and harmony between people. The desire to depict on canvas a world free of suffering and social injustice has been furled by his own experiences and his determination to succeed as an artist has given him a greater insight into the struggle of others’ Debbie Sellman, Art Critic
‘The blurring of distinction between figure and ground is a major factor in decorative art. In the classical arabesque rhythm and pattern sweep both terms into an active mixture. In Islamic traditions writing and decorative design become similarly fused, design and sign become one form. Jafar’s work welds together signature and painterly decoration as a ground, which then, (after a while) emerges as a figure working energetically within the environment. This shared emerging figure is endlessly at home because it continually draws its own ground. Rather than basing a landscape on a grid we find its foundation in the movement of a dynamic arabesque in a flourish of signatures’ Phil King, Artist & Art Critic