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My study of objects through an artist's perspective allows one to see how complex the world of ordinary and less ordinary objects is. The process is influenced by imagery and use of objects in my surroundings, a culture affecting objects consumption, the consumption of objects individually or collectively which reveals the constant engagement of any society's identity, which I transfer into imagery, installation, video, and sculpture. I believe each object is a thing, but everything is not an object, and objects exist everywhere in equal measure. Still, the idea of their being private or public can be different, which gives various forms to deal with them and develop artworks.The transformation of any object does not exist only in the material; it also exists in a change of position, ownership, identity, function, and from becoming public to private or private to people, and my art practice revolves around it. Therefore, my art practice is not fixed to a specific medium, place, or identity; it transforms; it is a process of learning and unlearning.
Biography Born in 1989 in Lahore, Pakistan, Idrees Hanif graduated with distinction from BNU (Beaconhouse National University) Lahore in 2014. As a visual artist, Hanif has been working with the medium of sculpture and using transformation as the primary visual element in his practice using various materials to put across the concerns in it. The non-rigidity of the body of work has been one of the personal concerns throughout every project. Still, like every structure, language has the capacity of being one of the most subtle of them. It’s addictive. This led my practice into the questioning of its elements (constants and variables).His work has been conceived with the conception of deconstructive engagement with the practice formally and conceptually. The pieces resulted from the understanding and critique of the previous methods and elements that constituted his work and the detailed imagery that became a language for his art practice. Hanif also believes that the engagement with the social fabric becomes the central reserve from which the visuals drive their various narratives- keeping the work volatile than static. The idea of transformation exists in art practice and approach to art-making, leading him to discover social behaviours through objects. The visual and conceptual absurdity of other works in which Idrees transformed objects can be understood as the remains/residue of his art practice. Clichéd elements are relevant in the society, generating a dialogue revolving around the poetics of the very space that thrives on the idea of the witness rather than understanding the “difference” as the main element of growth. The improbability gives the work an abstract aura and throws it in the paradigm of the Fluxus while using very tangible elements or visual signifiers.Idrees Hanif is currently enrolled in MPhil in art & education at PIFD Lahore. He Lives and works in Lahore.
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