Introduction

The intricate geometric patterns of Islamic art have always deeply intrigued me. Discouraged from depicting the visibly seen, the artists and artisans of the Islamic tradition took to the representation of the visual employing a highly stylised, near-abstract form and took it to a celestial level which - to this day - remains unique in its aesthetic value. What makes it more interesting is as Islam spread to various parts of the world, Islamic art adapted to local traditions and techniques and morphed into new shapes and forms yet keeping the underlying tenet in tact.

It is this aspect of Islamic art that I have taken to in my work which is the core thesis of this exhibition.

Were these obsessively disciplined patterns sitting compulsively on the walls, floors and ceilings of mosques and palaces the very early precursor to modern day computer-aided art? I'd like to think so.

The other underlying influence behind the works is that of the decorative rickshaw art of Bangladesh. Virtually every part of a rickshaw - an indigenous human pedalled hooded tricycled transport - its body, hood, handlebar - is decorated with cut-outs of bright coloured Rexine nailed, sewn or hung from it. The recycled material I've chosen for the exhibition is a homage to the rickshaw artists who have joyously proven that art is a basic need for our souls and we carry it out using whatever circumstantial media we can lay our hands on.

Works in this exhibition are computer aided but the final product is a tribute not only to Islamic art but also to the decorative tradition of Rickshaw art of Bangladesh. And yes, I've taken my artistic license in interpreting them.

Glossary

Iznik school of ceramic: Iznik, Turkey used to be the centre for ceramics arts during the Ottoman era and reached its zenith of excellence in the second half of the 16th century - the classical age of Turkish art during Ottoman rule.

Mughal miniature: The art of miniature painting as book illustration for non-religious purposes. First introduced in India by the Mughal emperors who brought miniature artists trained in the Safavid school with them from Iran.

Safavid school from Tabriz, Iran: The Safavids ruled what is now modern day Iran between 1502 - 1736. Their capital was in Tabriz at the beginning and they established an artistic tradition that was a continuation of the Herat school but later excelled in miniature painting in its own right.

Samarkhand: Second largest city of Uzbekistan. Islam propagated to Samarkhand around 710 and in 1369, it became the capital of the Timurid dynasty. At its peak, Samarkhand was the most exciting place to be for scientists and artists alike. Its finely architect ed city centre of Registan is still one of the must-see specimens of Islamic architecture.

Exhibition catalogue: For an online catalogue and more info on geometric beauties : patterns of Islam, please visit http://www.fidahaq.net.au/geometricbeauties.php