Bio
He lives and works in Lahore. He graduated with a Bachelors in Fine Arts from Beaconhouse National University, Lahore (2009). Mujtaba looks for clues to create a route to revisit the familiar notions, thoughts and subject matter which offer us other connotations and suggestions through various sets of approach. His art has transformed over the years from photography and video to graphite and charcoal drawings. Selected recent solo exhibitions: A monochrome episode, Sanat Gallery, Karachi(2016); The inscription reads, Color Gallery, Lahore(2015).
Artist Statement
Upon scrutinizing the conventional trajectory of a structural decorum of a society, the conclusion appears to be automated. The mechanisms of a particular system modify human responses in various spheres of life. The mechanical homogeneity of participants in a congregation indicates that religious, socio-political and cultural conditioning direct us to conform. That performance generates both individual and collective responses. Much like the medium of drawing and the tools involved, there is a uniformity maintained. Graphite, lead and charcoal, on the surface may seem analogous. They produce the appearance of confinement, through their homogenous monochrome nature. This monotony and repetition can be observed on multiple levels; the interior fibre of the collective is also affected by the outer façade.
He lives and works in Lahore. He graduated with a Bachelors in Fine Arts from Beaconhouse National University, Lahore (2009). Mujtaba looks for clues to create a route to revisit the familiar notions, thoughts and subject matter which offer us other connotations and suggestions through various sets of approach. His art has transformed over the years from photography and video to graphite and charcoal drawings. Selected recent solo exhibitions: A monochrome episode, Sanat Gallery, Karachi(2016); The inscription reads, Color Gallery, Lahore(2015).Artist Statement
Upon scrutinizing the conventional trajectory of a structural decorum of a society, the conclusion appears to be automated. The mechanisms of a particular system modify human responses in various spheres of life. The mechanical homogeneity of participants in a congregation indicates that religious, socio-political and cultural conditioning direct us to conform. That performance generates both individual and collective responses. Much like the medium of drawing and the tools involved, there is a uniformity maintained. Graphite, lead and charcoal, on the surface may seem analogous. They produce the appearance of confinement, through their homogenous monochrome nature. This monotony and repetition can be observed on multiple levels; the interior fibre of the collective is also affected by the outer façade.
