Fisher woman of my Mohenjo

Jamil Naqsh is an important figure in this complex development.
Born in Uttar Pradesh, from a Muslim family, he was forced by the
post-war partition of the Indian subcontinent to take refuge in newly
created Pakistan.
There he studied both in an art school that followed an essentially
European curriculum, and also under a master who followed the
traditions of Mughal miniature painting. Like many young Indian and
Pakistani artists of his generation, he kept in touch with European
post-war developments through the art books and catalogues
illustrated in full colour which were at that time becoming
internationally available. He became one of the major contemporary
artists in post-Partition Pakistani.
There is a gallery in his name that flourishes in Karachi. Eventually,
however, he made the decision to move to London, away from the
conflicts of the sub-continent. He now lives there as a recluse, happy
to be able to devote himself fully to his art, without outside
distractions. Modern technology – television and the internet –
enable him to remain fully in touch with the contemporary world.
The major series of new paintings in this exhibition the complex.
interaction in his work of both choices. More perhaps than most artists,
simple his complex cultural background and equally personal history
which has from time to time put him at the m events over which
he could exercise no control to consider the impact of an often
remote pas remaining firmly committed to the idea of ma
intrinsically modern.
The paintings in this show are best described works, moving
towards abstraction. The degree able figuration seems to diminish as
the series pro images are deliberately fragmented, just like o relationship
to the distant past, which we can only imperfectly, in shattered fragments.
The main inspiration for the series is the famous Mohenjo-daro site,
located west of the Indus River in District, Sindh.