AYESSHA QURAISHI
  • HOME
  • 1985 - 2000
  • 2001 - 2010
  • 2011 - 2020
  • 2021 - 2022
  • RETROSPECTIVE
  • MONOGRAPH
  • ARCHIVE
  • ABOUT

2022

THE 2022 SOVEREIGN ASIAN ART PRIZE

Finalists Exhibition

Finalists in the running for this year’s Prize hail from 16 countries and regions across Asia-Pacific, of which Hong Kong has the strongest representation with 5 artists shortlisted. Amongst the finalists, 27 artists have been shortlisted for the first time.
This year, The Prize received 419 entries from 27 countries and regions in Asia-Pacific. A total of 76 independent arts professionals –
11 of them new to the nominating board for 2022 and comprising curators and academics who work closely with artists in their respective regions – nominated 278 artists into The Prize. The 30 finalists were shortlisted by a panel of four world-class art specialists, namely: writer, curator, and museum director, David Elliott; artist, curator, and actress, Karena Lam; artist and winner of The 2021 Sovereign Asian Art Prize, Li Binyuan; and Senior Curator, Digital and Heritage at Tai Kwun, Ying Kwok. An additional artwork was also selected as a special inclusion for the exhibition resulting in a total of 31 artists on display this year. 

View the artworks at Art Central Hong Kong from 26 - 29 May. Tickets are available via the @artcentralhk website: https://artcentralhongkong.com/programme/
You can also view the artworks online and vote for your favourite on The Sovereign Art Foundation's website: https://www.sovereignartfoundation.com/art-prizes/2022-edition/
​
The artist with the most support from the public will be awarded the Public Vote Prize, so please remember to cast your vote!
The Finalists for the 2022 Sovereign Asian Art Prize by Ayessha Quraishi
The 2022 Sovereign Asian Art Prize Finalists
​www.sovereignartfoundation.com/art-prizes/2022-edition/
Spotlight on Ayessha Quraishi, finalist of The 2022 Sovereign Asian Art Prize.
Interview with The Sovereign Art Foundation.
​www.sovereignartfoundation.com/finalist-interviews/spotlight-on-ayessha-quraishi/
Ayessha Quraishi, finalist exhibition at Art Central Hong Kong of The 2022 Sovereign Asian Art Prize.
Ayessha Quraishi | Finalist of The 2022 Sovereign Asian Art Prize
​www.sovereignartfoundation.com/art-prizes/2022-edition/

2022

​SOMETHING BORROWED SOMETHING NEW

Curated by Arshad Faruqui

​The emergence of the pandemic has brought overwhelming changes in society and forced humanity to rethink how we live. Until just over a year ago, we took face-to-face human interaction for granted. On one hand, the world was under lockdown, and we were unable to be in the company of our friends and family, but on the other hand, it opened new ways to communicate, reach out to people and stay in touch with those whom one had lost contact with. It opened new avenues to think, share, and create.

Keeping this spirit of resilience in mind, "Something Borrowed, Something New" is a collaboration between myself and artists, architects and designers who have been a part of my journey and who have inspired me. With some, ideas and concepts were exchanged through Zoom, WhatsApp and emails, and with others, an incomplete or an ongoing piece of work or a space was shared and developed.

This exhibition celebrates The Borrowed to create The New.

​Arshad Faruqui
'Choose your background' 2022 by Ayessha Quraishi
Copper slab by Arshad Faruqui
Choose Your Background, 2022 by Ayessha Quraishi
Photo by Nael Quraishi

CHOOSE YOUR BACKGROUND

A Collaborative Work | Arshad Faruqui, Nael Quraishi and Ayessha Quraishi

​The beaten copper slab designed by Arshad Faruqui offered several design possibilities in my imagination. Its reflective quality brought to mind the polished metal mirrors in use for millennia until about two hundred years ago when the contemporary glass mirror we are familiar with was invented.
Unlike the soft-hued hazy reflections on metallic surfaces, the glass mirror displayed our features in sharp focus. The greater detail brought attention to beauty and blemish in equal measure, and ‘mirrors don’t lie’ became a mantra. Consequently, a massive beauty and image enhancement industry was birthed, fed not so much by a physical object and its reflection but by the quality of vanity in the viewer. Thus the idea of the mirror as an object informing our self-perception began to take shape for me as a line of inquiry. 
​
Over the past couple of years, the use of technology to provide a virtual meeting place has predominated and again altered the way we see and present ourselves. Our image is now mediated via a camera placed in our communication devices to be read by software such as Zoom, Skype, etc. Through this new technology, we can manipulate our image and environment to draw nearer to our concepts of perfection. The beginning of endless possibilities in a paradigm shift of how we see and wish to be seen. At the juncture of this transition, I rework a borrowed object to ‘reflect’ on our evolving self-image in a new era.

Ayessha Quraishi
​

Review www.dawn.com/news/1687718
Choose Your Background 2022 by Ayessha Quraishi
Choose your Background. Copper, stainless steel, wood, photographic print on perspex. 16 x 20 x 3 inches. 2022
Choose your background 2022 by Ayessha Quraishi
Choose your Background. Copper, stainless steel, wood, photographic print on perspex. 16 x 20 x 3 inches. 2022

2021

KHAT-O-KITABAT | Connecting Past-Present-Future

Curated by Nurayah Sheikh Nabi and R.M. Naeem
December 2021

Through Past-Present-Future, visual artists examined the relevance, relationship and purpose of size in context to their individual practices. Khat-o-Kitabat invites the artist to re-examine the essence of a meaning in their given names; a relevance, a relationship and a purpose. The culmination of this collaborative project between O Art Space and Koel Gallery expands its horizons to look at the origins of a size and the origins of the artist. The size for the work is set on the magical aspect ratio 1:1.4142 further defined as is to the square root of 2. This standard describes the A4 size as we know it today, which was born in a letter between two friends in 1786, was set as a measure in 1922, eventually becoming an official metric standard in 1975. The premise was the advantages of a height to width ratio that assists in resizing images and the calculation of large volumes.
Ninety-nine artists are invited to use an A4 size to navigate a letter to themselves. A documentation, a resizing, a pictorial monologue between the origins of the size and the self. The significance of which is relevant to both, the artist and the viewer, in terms of the actual experience, movability and accessibility.
​
Nurayah Sheikh and R.M. Naeem
Tree of Life by Ayessha Quraishi
Tree of Life. 27 x 18 cm. Acrylic on digital print, ink on parchment. 2021
Khat-o-Kitabat at O'Art Space by Ayessha Quraishi
Photo Courtesy. O'Art Space
Khat-o-Kitabat exhibition display at O'Art Space by Ayessha Quraishi
Photo Courtesy. O'Art Space
​AYESSHA.COM © 2022
​
All rights reserved | Privacy Policy.
  • HOME
  • 1985 - 2000
  • 2001 - 2010
  • 2011 - 2020
  • 2021 - 2022
  • RETROSPECTIVE
  • MONOGRAPH
  • ARCHIVE
  • ABOUT