Forever is composed of nows

Janet Rady Fine Art is pleased to present Forever is composed of nows, an online group show of eight international contemporary artists, running from 26 March to 22 April, 2024.

In a celebration of the ever-changing present moment, a diverse collection of abstract art will be unveiled in this online exhibition. Inspired by the timeless verse of Emily Dickinson, the exhibition showcases the works of Joseph Awuah-Darko, Britt Boutros Ghali, Neda Dana Haeri, Padideh Dehdari, Mahmoud Hamadani, Tuğçe İnan, Halise Karakaya and Anthony White.

Curated with meticulous attention to detail, the exhibition explores the innovative techniques and boundless creativity of each artist, whether it be through linearity, texture, form or colour. Each piece invites viewers to embrace the beauty and complexity of the present, reminding us to cherish the fleeting moments that make up our lives.

Click here to view the catalogue.

Joseph Awuah-Darko’s (b 1996) paintings delve into the intricate interplay between the subtle nuances of his moods and the vivid expressions captured on canvas. With a process that first begins with a colour-spectrum visual diary in Microsoft Excel, where he documents his relationship with depression, Awuah-Darko’s practice serves as a poignant exploration of the dynamic relationship between interior introspection and outward manifestation. His evocative works blur the line between reality and imagination, inviting viewers to journey into the depths of the subconscious mind.

At the heart of his work lies a profound engagement with the symbolism of stripes, echoing the rich tradition of Ashanti Kente woven cloth. These stripes serve as a visual metaphor for the complexities of human emotion and his lived-experience. Much like the intricate patterns of Kente cloth, Awuah-Darko’s strokes traverse the canvas, weaving together layers of emotion and memory to create a tapestry of visual storytelling – each painting a portrait of his day.

Norwegian born Britt Boutros Ghali (b. 1937) has woven her artistic legacy into the very fabric of her adopted Egyptian homeland over the past five decades. Her journey is one of vibrant hues and boundless creativity, informed by the contrasts of her early years in Svolvaer, Norway where luminous summers morphed into the enveloping darkness of winter and the tumult of World War II. Her canvases, marked by a kaleidoscope of colours and dynamic brushstrokes, exude an energy that is both captivating and enigmatic. Rooted in the principles of action painting, her process is a dance of spontaneity and structure, where the materials themselves become conduits for storytelling.

At the heart of Britt’s practice lies a deep reverence for her surroundings. Egypt’s rich and exotic tapestry of culture and history serves as a perpetual wellspring of inspiration. From the bustling souks of Cairo to the tranquil shores of Agami, her dual studios reflect her profound connection to the land and its people.

Of Persian heritage and now living in the UK, Neda Dana Haeri’s art is inspired by Persian poetry and Eastern philosophy. Her works reflect the images of the past, the myths, the fluent stories that change shape with time and yet carry with them the unconscious emotions affecting our daily life.

Dana Haeri creates layers of colours and textures which reflect and refract the mythological, philosophical, and emotional worlds of poets. Her paintings whether on canvas, paper or wood frequently mix oil, acrylics, ink and other materials to create depth and complexity translated into simplicity as she brings memories, myths and poetry together.

Padideh Dehdari (b 1966) has been interested in visual arts since her early childhood.

The knowledge that she has gained through studying and practising various artistic fields has enabled her to form and develop her own unique drawing style.

Dehdari typically uses cheerful and warm colours in her paintings woven into dense, strictly delineated compositions. Using inks and gold or silver leaf, her regimented compositions echo the natural forms she sees around her. She makes us want to peer between the lines to find out what lays behind these tantalising boundaries. Dehdari says about her work “I believe these colours exude an energy that connects viewers with feelings of wellbeing”. “My goal is to relay the good feelings of colours and imaginary forms of my mind to the viewer”.

Mahmoud Hamadani’s (b. 1958) bold and expressive strokes convey a powerful sense of emotion and energy. His delicate, monochromatic ink drawings explore art’s ability to manifest existential pursuits, such as the attainment of peace and enlightenment. Working in series, Hamandani creates exquisitely minimalist works that engage a meditative, visual rhythm inspired by ancient Persian poetry, traditional Chinese painting, and the numerical Fibonacci sequence.

In Requiem, Hamadani draws rhythmic patterns – of grids, lines, or dots – each restrained by a simple structure. The drawings evoke the dynamics of complex systems, such as a city, or a beehive. Without a structure, a system is not sustainable, and without the freedom held within the structure, the system would not thrive. In this way, the work is a study of the relationship between order and chaos. “Look closely at each drawing and you will see a myriad of haphazard elements,” Hamadani explains. “Step back and a resolved serenity appears.” In Traces, another series, the work is made through a process by which Hamadani blows ink in various directions across paper. The process itself is an investigation of chance and will. Hamadani explains that this body of work is inspired by Gu Cheng, a late Chinese modernist poet.

Tuğçe Inan was born in 1979 in Bursa, where her journey of art and expression began at an infancy, a narrative not just of geography but of the soul’s unfolding. Her early encounters with the brush, a prelude to a lifelong symphony of colors, led her to the Bursa Anatolian Fine Arts High School’s Painting department. This foundational phase segued into a more profound exploration of aesthetic forms and textures at the Istanbul Marmara University Faculty of Fine Arts (1997-2001), where she specialized in Textile Design, specifically fabric patterns.

“Colors, to me, are not mere reflections of light but the essence of my inner world,” says, “a canvas where emotions, thoughts, and dreams meld in a vibrant dance.”

This belief in the transformative and healing power of art is a testament to her conviction in the freedom of expression as an existential necessity. It’s through this prism that she views her paintings, not just as visual compositions, but as narratives woven from the fabric of life itself.

From a very young age, Halise Karakaya (b. 1995) has always been captivated by the intricacies of individual perspectives. Our personalities, backgrounds, and surroundings weave together to shape our unique outlook on the world. Through the journey of discovering mine and reflecting it in her work, she came to realise that one must see that finding what sets us apart is intricately tied to what binds us together with the rest of humanity—the underlying unity in our emotional experiences.

In Karakaya’s work, she mainly employs two distinct elements: cubic structures and fluid brushwork. The choice to incorporate cubic forms, whether as drawn representations or three-dimensional installations, is deliberate. These structures to her, symbolise the diverse perspectives we each hold. By manipulating these forms, she seeks to evoke a sense of multiplicity, inviting viewers to explore the rich tapestry of human perception. The occasional addition of three-dimensional elements adds a physical dimension to the exploration of viewpoints, aiming to offer the viewers an immersive experience that mirrors the layers of human perception.

Anthony White’s (b. 1976) practice is committed to reclaiming the act of dissent through the production of cultural objects. His research is situated at the intersection of several fields, including politics, human rights, and post colonialism. Concepts of design and its history as a form of social and political expression inform his approach to painting, drawing, collage, and printmaking. The references and materials he uses mark his predisposition for modernist aesthetics without this ever becoming the subject of his work. Through this practice, he tackles relevant questions to our time, to encourage emancipation and new ways of thinking. Articulated through gestural marks, swirling lines in saturated colour, textured surfaces and more formal collaged constructions, White’s work are often bold and demanding of the viewer’s attention.