Rasheed Araeen critic -

Rasheed Araeen’s  work interests me for the following reasons:-

Araeen talks about making, ‘the invisible, visible’ and this concept has in various ways been an idea that I have explored although on a more superficial level. I have been interested in highlighting the overlooked, marginalized and, in particular that or (those) that have been ignored.

 Therefore a study of Araeen’s body of work as a critic would develop and refine my own work in terms of depth and focus when clarifying intentions. Araeen is a minimalist sculptor, whereas I would probably describe myself as a ‘maxi- mist’ painter, but it is in particular, his ideology and perspectives, that preliminary studies suggest there is a connection in intent.

Although Araeen’s experience as a Pakistani artist and writer living in London, of indifference, and sometimes, ignorant, attitudes towards himself, is different  in context to my background, there are parallels. Culturally, I know many New Zealand Artists have felt that the tyranny of distance from the major art centers, have made them feel unless they lived in New York or Europe they could not be established as artists and this has resulted in a sense of inferiority. Although in recent years, there have been moves to identify with oceanic/Asian/pacific artists (rather than just looking to the traditional European models for art practice), an examination of his arguments as a model for those of us who live in other geographical centers, or as Araeen refers to as ‘geo-hubs’ would be helpful. He also has insight into a diverse range of somewhat parallel issues for indigenous and non-indigenous artists, which could be applied, for example, the ‘cradle’ that nurtures the diverse multi-racial region of the South Pacific, was founded on the ‘western art model,’ and this model is currently under the ‘spotlight’ in this region.

Areen also examines the use of biennials and art fairs as part of the process and progress of globalization of the arts, and he has a vision for ‘eco-art’ as a way forward for the 21^st century. These last two subjects could also support the growth and maturation of the arts in this region.