The Armory Show 2021 | Adeela Suleman

Booth S6, Javits Center

September 9-12, 2021

September 9 – 12, 2021

Adeela Suleman’s fascination with violence, especially deathly violence, which is always adjunct to radical religiosity, comes from a life time spent in Karachi, Pakistan. Days there are often spent worrying about a safe route to work and back, about a child or partner who is late and not answering their phone, about little things that would not be worry-worthy in another setting.

Adeela Suleman’s fascination with violence, especially deathly violence, which is always adjunct to radical religiosity, comes from a life time spent in Karachi, Pakistan. Days there are often spent worrying about a safe route to work and back, about a child or partner who is late and not answering their phone, about little things that would not be worry-worthy in another setting.

Suleman takes the moments, that she has lived through and that she has others live through, and turns them into art. Her shiny, beautifully crafted surfaces of stainless steel are made up of dead birds, rendered using traditional repousse technique. These birds represent the everyday, unsung victims of violence. They come together in flowing curtains, textured surfaces that drape walls, or create free-standing forms. These shimmering towers, in their adjacency and proportions, may remind the viewer of another set of two towers, and another September in New York.

Suleman takes the moments, that she has lived through and that she has others live through, and turns them into art. Her shiny, beautifully crafted surfaces of stainless steel are made up of dead birds, rendered using traditional repousse technique. These birds represent the everyday, unsung victims of violence. They come together in flowing curtains, textured surfaces that drape walls, or create free-standing forms. These shimmering towers, in their adjacency and proportions, may remind the viewer of another set of two towers, and another September in New York. 

Adeela Suleman  Darkest Hour 1, 2021  Steel cooking utensil, sink drain cover and small sauce bowl, layered with foam and cloth  18 x 10 x 15 in

Adeela Suleman

Darkest Hour 1, 2021

Steel cooking utensil, sink drain cover and small sauce bowl, layered with foam and cloth

18 x 10 x 15 in

Adeela Suleman  Darkest Hour 2, 2021  Steel cooking utensil, sink drain cover and small sauce bowl, layered with foam and cloth.  18 x 10 x 15 in

Adeela Suleman

Darkest Hour 2, 2021

Steel cooking utensil, sink drain cover and small sauce bowl, layered with foam and cloth.

18 x 10 x 15 in

Visualization of Sculpture  Adeela Suleman  Untitled 1 and 2, 2021  Stainless steel with hand-beaten repousse work  42 x 42 x 246 in

Visualization of Sculpture

Adeela Suleman

Rise 1 and 2, 2021

Stainless steel with hand-beaten repousse work

42 x 42 x 246 in

Adeela Suleman Rise 1, 2021  Stainless steel with hand-beaten repousse work  42 x 42 x 246 in

Adeela Suleman

Rise 1, 2021

Stainless steel with hand-beaten repousse work

42 x 42 x 246 in

Adeela Suleman Rise 1, 2021 (Detail)  Stainless steel with hand-beaten repousse work  42 x 42 x 246 in

Adeela Suleman

Rise 1, 2021 (Detail)

Stainless steel with hand-beaten repousse work

42 x 42 x 246 in

Adeela Suleman Rise 1, 2021 (Detail)  Stainless steel with hand-beaten repousse work  42 x 42 x 246 in

Adeela Suleman

Rise 1, 2021 (Detail)

Stainless steel with hand-beaten repousse work

42 x 42 x 246 in

Adeela Suleman Rise 1, 2021 (Detail)  Stainless steel with hand-beaten repousse work  42 x 42 x 246 in

Adeela Suleman

Rise 1, 2021 (Detail)

Stainless steel with hand-beaten repousse work

42 x 42 x 246 in

Adeela Suleman  Darkest Hour 3, 2021  Stainless steel cake piping nozzles, sink drain cover, cooking utensil, doughnut cutter padded with foam and rexine  13 x 11 x 16 in

Adeela Suleman

Darkest Hour 3, 2021

Stainless steel cake piping nozzles, sink drain cover, cooking utensil, doughnut cutter padded with foam and rexine

13 x 11 x 16 in

Adeela Suleman  Darkest Hour 4, 2021  Stainless steel cake piping nozzles, sink drain cover, bathroom drain cover, cooking utensil jar, spoons, padded with foam and rexine  17 x 11 x 16 in

Adeela Suleman

Darkest Hour 4, 2021

Stainless steel cake piping nozzles, sink drain cover, bathroom drain cover, cooking utensil jar, spoons, padded with foam and rexine

17 x 11 x 16 in

Adeela Suleman  Darkest Hour 5, 2021  Stainless steel crescent pot strainer, brass cake piping nozzles, sink drain cover, small bowls, cooking utensil  12 x 11 x 15.5 in

Adeela Suleman

Darkest Hour 5, 2021

Stainless steel crescent pot strainer, brass cake piping nozzles, sink drain cover, small bowls, cooking utensil

12 x 11 x 15.5 in

Press Release

Aicon Contemporary is honored to be exhibiting at The Armory Show 2021 with a solo presentation by Adeela Suleman.

 

Adeela Suleman’s fascination with violence, especially deathly violence, which is always adjunct to radical religiosity, comes from a life time spent in Karachi, Pakistan. Days there are often spent worrying about a safe route to work and back, about a child or partner who is late and not answering their phone, about little things that would not be worry-worthy in another setting.

 

"An entire decade of my artistic endeavour has been invested into an investigation of violence and its effect on the country and on people’s mind, and the scars it imprints on our memory and our soul. We, the artists, are at times selfish; we look at someone else’s pain and suffering, and the first thing that comes to our mind is how can we represent it visually?
The process of guilt and introspection starts immediately after we experience larger than life events. My biggest challenge has always been how to represent the un-representable in a way that it respects the victims but translates their experience to the viewers." - Adeela Suleman 

 

Suleman takes the moments, that she has lived through and that she has others live through, and turns them into art. Her shiny, beautifully crafted surfaces of stainless steel are made up of dead birds, rendered using traditional repousse technique. These birds represent the everyday, unsung victims of violence. They come together in flowing curtains, textured surfaces that drape walls, or create free-standing forms. These shimmering towers, in their adjacency and proportions, may remind the viewer of another set of two towers, and another September in New York.