An amateur with remarkable realism

Touch

Asked to give some details about her training, she said, "I do not have any advanced formal training in painting, apart from what I learnt from Zia's Art Gallery at Shankar, before I went to USA. I got a few tips about sketching and working with oil pastels there. Apart from that, I always drew and painted at school but those were short classes. I took part in competitions as a school going student and won a few awards such as the ones given by Ranabi and from Zia's art gallery."

Talking about the style of her work, Fayekah said, "I always go in for the realistic effect. Probably, later in life, when I have more experience, I might go in for abstraction. Now my aim is to make my work as true to life as possible as I feel that I can only go in for abstraction -- which is so much in demand in the modern world I realise -- only when I have a grip over the realism. Abstract art makes you think about the picture to find out what the artist wants to represent. In comparison, when you see a realistic still life, for instance, you know at once what it is. However, I believe that making your work come to reality is more difficult than going into abstraction. I feel that in abstraction you don't have to worry about matters such as perspective for example when you are painting an apple, in realism, you have to bring in the actual texture of the skin as well as the shape. I think that abstraction is much easier, talking in technical terms."

Touching on whether there were any modern artists that she would like to keep in mind for inspiration for her future works, and her interest in fine arts in general, Fayekah said, "I'm just not interested on dwelling on abstraction at present. The artists who inspire me right now are Rafiqun Nabi and Mustafa Manwar. I plan to continue with my painting in my free hours in future. My present course in engineering is too difficult for taking out any time during the semesters to work on painting alongside. Along with painting I have music as my recreation too, as I've been trained as a professional classical singer for seven years by Ustad Amanullah Haroon."

Talking about her present exhibition, Fayekah said, "I bring in nature into my work quite often as I believe that in some way or the other, nature is related to human beings. One of my paintings shows a bed next to a window, called 'Affection', and here I have related my painting to my own life, as I do most of my works, and nature here says a lot about the feelings of life. In 'Touch' I have brought daisies out in the rain, and I have called my work as such, because when rain drops fall on the white flowers with their green centres, shaded with gray, and the flowers nod, it is a sure sign of happiness. If seen from a distance you will notice that the blossoms at the back are blurred. These are two of my favourite creations along with 'Anchor' which shows a wide sea on which is a single boat that is tied up in the harbour by a wooden path going into the water. This picture of Lake Taho in Nevada has the boat by itself among the waves, and has only the anchor for a support." "Anchor" is done in shades of blues, yellow and beige while the wooden landing leading to where the boat is sheltered. All around are the white clouds and still water, with trees and mountains in the distance.

"Warmth of light" has the reflection of the sunlight entering a cozy corner. This was taken from the artist's memory of a trip to Athens. "The greenery all around enhances the sense of warmth in the presentation," Fayekah added. The chairs and bottle of wine while the flowers in their containers along with the roof lend a sense of homeliness and contentment.

About the striking presentation of Sonargaon, Fayekah commented, "I have concentrated on the reflections of the buildings and trees on the deep green pool in front. This is in oil pastel, like much of the rest of the work, apart from crayon works." The trees and bushes at the back, with the leaves and branches at the side of the building, are dark and deep, and complement the water in front. As Sonargaon is a part of our old culture, the work has a lot to say. 'Ruins', a watercolour is called so as the ancient stones belong to the days gone by. There is nothing there apart from these stones, a resting bicycle and flowering creepers in yellow and green.

For one who is relatively young, who has had limited guidance, and only a short period of time to dedicate to artwork, Fayekah has done well for herself.