C o n t e m p o r a r y A r t R e v i e w

My work is composed of exuberantly whimsical abstractions, where color and organic forms prevail. Using every-day observances and experiences as an influence, layers of paint construct layers of meaning. By considering personal moments and interactions of the universal human experience, the spectator is drawn into a fictitious and heartwarming universe that emerges bit by bit. Works appear as dreamlike images in which past and present merge; nostalgia, sentiment and romanticism often play a role as a means of adding poetic value to everyday life. As an artist, I enjoy the exchange between the artwork and the viewer, and I encourage the viewer to make his or her own connections to the work. As such: my works do not reference an identifiable form- thereby allowing the imagery to facilitate fluidity in meaning and multifaceted interpretations based on the life experiences of the viewer. Aesthetically, I am influenced by a broad range of styles: the line work of the Ancient Mayans, the bright colors and compositions of Pop Art, the fantasy of Surrealism and our Postmodern visual culture.

Time-Image and Movement-Image series are practically an attempt to capture live Butoh dance performance into the continuity of movement contained within a single image plane rather than such movement being described through a succession of discreet and static moments or images. Being receptive to chance and accident opens possibility for the production of the new experience of the in-between stages of movement as a whole. Timeimage is an image which is infused with time. In order to invite discovery, creative discourse must bridge multiple areas of interests and fields of study, and I use everything that I know and record. I begin by looking at options, which is different from acting at random; learning to see by thinking and feeling more complexly about visibility … While representational techniques may be part of my skill set, for me, artmaking is a " flexible instrument," a developmental tool, a way of mapping thinking that can be circuitous, improvisational, or highly structured. Drawing helps me to record events and ideas and share them with someone else. It can be a container for curiosity, banking undeveloped ideas to percolate into something later.

I observe in all my works the presence of some nuances that are common in almost of them. For example: a strong tendency to use saturated colors and very movement. However, I use different materials and techniques to express different opportunities of my artistic experience. I studied in Stella Maris College, built and administered by German Franciscan nuns. This was a magical place where saints, angels, and madonnas embellisheld the environment and conveyed a sense of peace and harmony. My mind wandered from the sacred to the profane in seconds. There were the“ Caretas” with their fiery colors and electrifying movements in the steep city streets and also a heavenly court in my school, displaying shapes and colors, sweet and soft. My eyes caught all this and these elements were prominent in my works. But all this was left behind. I left tiny Triunfo and moved to the capital of Paraíba, where I graduated in Business Administration from the Federal University of Paraíba. My life followed a normal pace when one begins to work.

For some time I have been researched the notion of the Sublime and the Contemporary Sublime in visual art. My research aims were direct toward landscape painting and the role of a figure in it. As the Contemporary Sublime has many bridges and ideas, I am personally interested in the aspect of memory, which can be read as the sublime. There are many ways to explore memory, both intangible and physical. It could be suggested that photographs can represent the physical side of the memory. Memory is an intangible feeling, which reproduces previous experiences in the mind, as well it can invent or confuse memories, then trees become taller, the wind stronger and mountains higher. Through the paintings I want to show my memories and to share my interpretations about one actual place in the Austrian Alps. This place is a protected area where in winter people can ski and snowboard only during a daytime, as after 5pm everything stops. I am interested in that period of time when the sun sets behind the mountains and with the help of colours, paint and personal photographs I depict imagined narratives. In my practice I use photographs from my archive, however images are a starting point.

It’ s difficult to put Shabbir Khambatti into a slot as to be an artist, adventurer, art teacher, landscapist or all of these! The common denominator is that he is an extremely creative man. While in the merchant Navy, he sailed around the globe, missing no opportunity to visit places of art and heritage. As an artist he has had no formal training and is entirely self-taught. He likes to think of art as a hobby but dreams of international recognition. Shabbir does not adopt a single style of art. His work reflects touches of abstract, nature studies, charcoal sketches, still life, pointillism, impressionism and some spiritual overtones. This is no ivory tower painter, secluded from the rest of the world while he focuses his energies on canvas. Throughout his life, he strives to make order out of chaos, to invent, examine and combine the various ideas that float through his mind. The process brings feelings of artistic satisfaction and discovery into the unknown in wonderful creative adventure. As he makes this pilgrimage into his inner self with no maps, he feels alive in the labyrinth of forms and colors; creating a harmonious balance with objects and shapes on the canvas – balancing colors effectively and dramatically – creating movement and vibrant texture – bringing mental and spiritual relationship to the viewer.

In my idea, there is a long way path to pass for becoming a artist and I believe that I should pass that way to deserve calling an artist, thanks to you for introducing me this way. I studied theater at B. A grade and now studying Television producer( dramatic subdiscipline) at M. A. Also, I have some activity in performing arts, all these works and activity have led me toward art. as you mentioned persian roots are effectual, we have had many great artists, poets, painters that I can remark from the contemporary Asghar Farhadi in cinema, I always try to join my cultural substratum to a universal language; specially in my theater plays. I ' m that not much satisfied with my photography works yet, but actually I tried more to focus on universal language in my published works at this magazine. Art history and aesthetics in the East passed a different development and evaluation, but mybe in post modernism we can say combination of all items affect the artist not just the history and the cultural substratum.