Left to right: Untitled XI, Untitled VI I Rohtas-2 Art Gallery
In Chaan Been, his unique and tenderly crafted “word art” invites the viewer to enter into the private world of assumptions and judgments. His work offers a lovely bewilderment, a fine play on linguistic and cultural expectations. The artist manipulates words sometimes to suggest an act of deception — a puzzle, frustrating but eventually rewarding. One feels an uneasy tension to explore and look for “more” to glean clues in his work, as the title of his exhibition suggests.
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In Untitled II and Untitled III, the script tries to transcend the limitations of the two-dimensional surface and attract the viewer’s eye with its three-dimensional effect. The illusion seems to indicate the struggle to set oneself free from immediate reality, cultural norms and expectations through a provocative meditation on language, memories and even dreams.
Among his poignant works is Untitled VI, a dense circular collage which, if seen from a distance, resembles a cosmic swirl of scribbled pencil lines arranged in sinuous twists that suggest movement. At places, the cut and pasted scripts appear to blossom with dense layers as new words pour in from other points — moving, hiding and sprouting from the larger expanse. Muhammad says that he created this collage piece in a manner that its beginning or ending point cannot be determined; it seems to move on and on like a wheel, taking inspiration from the idea that there is no consensus on the exact age of human language. The dilemma of how, when, where and why languages emerged remains; with the passage of time, however, it experiences change in its linguistic structure.
In Untitled XI, microscopic script is arranged in such a way that there is empty space left in the middle of the canvas. It is a beautiful and intricate study of an old book page in which some words overflow with life and others are overshadowed by death caused by termite bites, eating away its own boundaries —moving “forward” in its endeavor to make possible the process of extinction.
The appearance of densely layered scripts in Muhammad’s work is more than a decorative experimentation. It explores, examines and comments on the importance of language and cultural identity. Executed with immense dedication, his pieces are magnificently evocative.
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