About The Work
Zahoor ul Akhlaq’s use of the grid, calligraphic elements and tropes from the miniature traditions were mined from Islamic and local cultural sources, and incorporated into his stylistic and intellectual framework. His planar colour fields or windows, baskets of flowers and autumn leaves, draw upon the works of luminaries such as Reinhardt and Newman.
Zahoor Ul Akhlaq
Zahoor ul Akhlaq (1941–1999) played a seminal role in the conceptual dialogue with miniature painting. As a student in 1960s London, Akhlaq began exploring the formal innovations of 17th-century Mughal and Persian painting to create
a contemporary language. He began juxtaposing the fluid spaces and floating spaces of Asian art with pop art and colour field painting. By the 1970s the grid became dominant in Akhlaq’s work- a construct embedded in both Islamic geometry and modernism. Eventually the grid was replaced by frames: Akhlaq contrasted these with the illusionist view through an open window.
“Division of space is very important in Oriental paintings’ and’ I am very affected by this concept, also by the rhythm of calligraphy.”
Founded in 2010 by sisters Amrita and Priya with an eye towards representing artists, across generations and nationalities, whose work is informed by South Asia. In 2010, Amrita and Priya produced Sir Anish Kapoor’s firsspruth t-ever public exhibition in India, a landmark event in the country’s art world. Jhaveri Contemporary is dedicated to the creation of original scholarship, with carefully crafted shows. Entwined with this philosophy is another guiding principle: showcasing the heterogeneous practices of long-celebrated luminaries as well as emerging talents, often in generously interrogative conversations.