INTIMATE/INTIMIDATE
2012

As an artist who has overpouring ardour for poetry and emotional overlay , the undercurrents of my work reflect these bouts of emotions and lyrical balladry; most times shrouded with clouds of melancholia as I contemplate into the frailty and deficiencies of our memories, of living itself. Shying away from the vested commercial inclinations that the artworld tends to succumb to, I strive to inject as much soul and authenticity into my craft. This enables me to produce works that I am vehemently passionate for and is dear to my heart and conscience. Using soul as the divine cursor to my works, I engage in more conceptual and fervent idiosyncrasies in artmaking. I believe the quirks of my ideas, concepts and delivery set me apart from my contemporaries. Working with more expressive motive has allowed me to produce organic experimentations that include emulsion scratching, tampering with fixers, sketching unto negatives etc. It also resonates with my constant urge to propose a multiagency to the meanings of my works; in its symbols and semiotics; even emotions. For the last two years, I have been working more with analog camera as there is this innate poetic veneer it wears on its sleeve, which aids the aesthetic of my works. Sensitivity being the compass of my approach, I am more inclined to deal with social and cultural issues that are laden with complexities and perceptions- of judgements and prejudice. I soon learnt that I have developed a thirst to be the voice for the silenced, especially within my community. Muslim imageries and icons such as the religious garbs are often my recurring subjects, in externalising the conflict and confusion stirred within me. I realize in speaking of issues that may be contentious, I have subconsciously chosen a more deep introspective, inquiry; like seeking solace through these problematic social crises. I believe, much like myself, my works have a understated aura about them, a sense of monumental stillness about them and I enjoy producing works of such.