#areez work

[pandanscart]

Gotta WORK!

Another completed project down! 🩵 This one tested me in a LOT of ways... But overall I am very satisfied with it.

Of course, as always, it can be purchased in various forms on my redbubble, if you so wish to partake!

Happy holidays, everyone! 🩵

[marttlier]

There is no other home but this March 5–June 19, 2022

Areez Katki and Khadim Ali

In an exploration of the profound themes of family, folklore, tradition, and Middle Eastern heritage through textiles and fiber art, Areez Katki and Khadim Ali come together in the exhibition titled "There is no other home but this." This exhibition is a continuation of Govett-Brewster's commitment to showcasing art that delves into the concepts of home, family, and ancestral connections.

Areez Katki and Khadim Ali, both residing in Aotearoa New Zealand and Australia, have roots tracing back to the Persian Empire (559 BCE–331 BCE), a region encompassing modern-day Iran, Egypt, Turkey, and parts of Afghanistan and Pakistan. They share a common heritage, having been raised with Persian literature, language (Farsi), and, in Areez's case, an initiation into the indigenous Zoroastrian faith. Their creative works draw inspiration from this shared legacy and intertwine it with their personal experiences. These pieces symbolize themes of royalty, battles, and legends, often reminiscent of illustrated manuscripts.

Furthermore, my own artworks resonate conceptually with these themes, as I explore displacement, culture, and the integration of poetry into my creative process.

[osarothomprince]

Rasna Creator Areez Pirojshaw Khambatta Awarded ‘Padma Shri’ Posthumously

The late Areez Pirojshaw Khambatta, Founder and Chairman of Rasna Group, has been awarded the Padma Shri (Posthumous), 2023, for his work in Trade and Industry in Gujarat. One of the highest civilian awards in the country, the award comes in recognition of his lifelong work towards nation building. The award was accepted on his […]Rasna Creator Areez Pirojshaw Khambatta Awarded ‘Padma Shri’…

[molly-timmins]

Gallery visit-

Areez Katki 'Yes, I'm a Garden'

Tim Melville Gallery

'Yes, I'm a Garden' showcases a detailed array of embroideries and paintings by Areez Katki.

His material choices and treatment of the thread places the work in a domestic environment similar to interests within my own practice. This exhibition features 30 embroideries on raw khadi, hand-woven silk cotton, and various paper. Much like his 2018 'Hankerchief' series and 1940s-teatowel embroideries from the same year, there is an emphasis on material in relation to his process. Identity and culture is explored through his work which tell rich stories of Katki's observations within Zoroastrian faith. 'Yes, I'm a Garden' observes 'extinct, endangered, endemic and migratory birds from the north-west coast of India where Katki’s Parsee family has lived (in Mumbai) for generations.' The translations of these birds into recognisable yet abstracted forms documents a journal of localised identity through it's birdlife. The installation creates a flock in which you can almost hear them sing.

Close inspection reveals a particular use of the chain stitch, a common occurrence in Katki's work, which sews a careful harmony to even the most tangled linear shapes. French knots and other traditional stitches also appear in several works, reminding the viewer of traditional embroidery uses and the historic domestic contexts that are being referenced.

[ctprocess]

Areez Katki, ‘Some Retained Delights’, 2019

RM Gallery, October 9 -26

Implementing work within the parameters of 20 odd square pieces of found cloth, each between 400-600mm, Katki embroiders a series of useful textiles yet again; handkerchiefs – found in his late-grandfather’s vanity chest drawer; stolen from the purse of an octogenarian matriarch or two; sourced from a Khadi vendor down the road from his ancestral home; found at a flea market in Athens; joyfully discovered next to the home of Mario Praz in Rome; taken from the kitchen of Pierre Jeanneret’s villa where Katki spent one restless night in Chandigarh. These squares serve as his ground for intimate mark making. Synesthetic responses to heuristic, contemplative thought contemporaneously sit upon & beside the ephemera of remembrances. Addressing how certain evocative gestures, whether grand or minute, may be preserved for one’s pleasure. 

https://rm.org.nz/

[autvisualarts]

Opening tonight at Auckland Art Gallery Toi o Tāmaki!

19 Gallery: Relocating Frances Hodgkins

With AUT VA alumni Nick Austin, Finn Ferrier, Ryder Jones!! –and Gretchen Albrecht, Kirstin Carlin, Vita Cochran, Bronwynne Cornish, Jane Dodd, Nicola Farquhar, Graham Fletcher, Star Gossage, Julian Hooper, Areez Katki, David Kisler, Saskia Leek, Christina Pataiali'i, Jeena Shin, Richard Stratton, and Isobel Thom.

- In 1934, London art dealer Sydney Burney commissioned a range of leading British modernist artists to create small scale works for a miniature gallery, to raise money for the Fund for the Blind. This model gallery became known as the 34 Gallery, symbolising both the year when it was created and the number of artworks featured in the display. It included two paintings by Frances Hodgkins. A replica was made in 1997 with 25 of the original paintings, currently on display at Pallant House, Chichester.

In 2019, on the occasion of the major touring exhibition Frances Hodgkins: European Journeys, Auckland Art Gallery has reworked Sydney Burney’s concept. The 19 Gallery, 2019 includes paintings and sculptures by 19 New Zealand artists who have in turn been inspired by the work of Frances Hodgkins.

[ctprocess]

Areez Katki - Artist talk at Uxbridge Malcolm Smith Gallery

“In March 2018 Areez Katki set off from his East Auckland home for Mumbai on a carefully conceived quest to trace his creative inheritance as the son of a Parsi Indian family with ancient Persian roots.... Bildungsroman parallels Katki’s grand tour journal, which conveys the sincere curiosity of an expatriate outsider prying into the closed Zoroastrian community with questions of gender, sexuality and politics in mind.“ Areez presented his journey through photographs and documentation of this nine month trip travelling around India and Iran. He grew up in Mumbai but migrated to NZ when he was young, and learned handcrafts such as knitting from his grandmother. His trip was a way to gain a deeper understanding of his ancestral past while also picking up ancient, forgotten/declining handcraft skills and techniques from women in Persia. Areez’s attitude and research into craft is heavily guided/influenced by his personal and cultural  identity - an aspect which I feel a relevance and connection to. Through craft (knitting, weaving and embroidery) Areez is able to explore his past and create new connections. I was born in NZ with my heritage going back to Malaysia and China, reflecting on my ancestral geography and cultural background has been an important part of my recent practice. 

Images from: https://www.instagram.com/areezkatki/ https://www.instagram.com/malcolmsmithgallery/ https://www.areezkatki.co/ Why is it important to look into oneself (identity, cultural lineage, family) and make work exploring this? Are people/outsiders able to feel a connection to such personal work?