.jpg?w=1)
拍品專文
Khalid's practice epitomises the feminist mantra, 'the personal is political'. Divided references Khalid's Page to Page series which consist of albums of meticulously made neo-miniatures. What resonates from these exquisitely rendered illusionistic pages is silence. "The red geometry seems to disappear quickly, into silence. Complete withdrawal and stillness is the call of the day. There is too much noise in the world and a need for calm is needed in the environs. It is time for silence. Deep silence, contemplation, nostalgia and meditation all can be read into these empty pages." (A. T. Naqvi, 'the 21st Century Miniature Album', Portraits & Vortexes, Aisha Khalid, Hong Kong, 2007, p. 66)
However concealed within this charged silence is a more destructive, pervasive sentiment. "The red geometry fades to a white one [...] the red appears and its reflection is camouflage again [...] The circular vortex of the camouflage is violent and destructive like a tornado." (A. T. Naqvi, 'the 21st Century Miniature Album', Portraits & Vortexes, Aisha Khalid, Hong Kong, 2007, p. 67) Within these pages, post-September 11, Khalid searches for a utopian refuge in a world ravaged by violence and conflict zones.
However concealed within this charged silence is a more destructive, pervasive sentiment. "The red geometry fades to a white one [...] the red appears and its reflection is camouflage again [...] The circular vortex of the camouflage is violent and destructive like a tornado." (A. T. Naqvi, 'the 21st Century Miniature Album', Portraits & Vortexes, Aisha Khalid, Hong Kong, 2007, p. 67) Within these pages, post-September 11, Khalid searches for a utopian refuge in a world ravaged by violence and conflict zones.