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I would like to express my appreciation to
my family and friends, who moral support
and patient listening meant so much over
the long span of painting and designing time.
I extend my heartfelt thanks to the many
artists who shared their ideas and work with
me. I felt it important to go beyond my own
work to show the immense span of thought
and expression in the field of oil media
painting.
Naseem Gul.
Director Libra Art Gallery.
.
I work on a large number of paintings concurrently.
This allows me to transport strong elements
and effective techniques from one piece to
the next. Each multi-layered rendering shares
some details with the other works in the
series. The overlap of elements enriches
each individual expression and deepens the
cohesion within the series. Ultimately, each
piece captures some fragment of the landscape's
power until the larger body of work coalesces
to express its deepest essence.
I think all kids love to express themselves
creatively, and like everyone else I began
creating as soon as I could hold crayons.
The important question to me is what made
me continue creating after my playmates went
on to other interests. The answer to that
is: A) In my mind I was already an artist,
and B) I was blessed with parents who valued
creativity and encouraged me.
. 
CAMEL & LAST LIGHT,
Oil paint,
By Naseem.
Size 5 x 10 inch
Collection of the artistel. |
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Artist's Statement:
I grow weary of the mundane world,
and I am trying to slowly create my
own
through my fantasy artwork. I believe
that with each piece of art I get out of
my system, onto paper, and into your home
I have done my part to make this place a
more magical planet. Professional Information:
I am a free-lance, self-employed artist.
Mostly I paint gothic, fantasy and fairy
art!!!!
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OLD MAN
ON OLD CYCLE,
Oil paint,
By Naseem.
Size 40 x 18 inch
Collection of the artist.
The artist begins to call attention to a
composition through the use of shape,
line, and color. One of these interwoven
elements usually predominates,
supplemented by the other two. Added to this must be the qualities of rhythm,
repetition and variation, emphasis,
balance, and proportion. The artist learns to see
and use interesting shape, to use line expressively, and to select color that will
have the intended emotional impact.The artist then assimilates this knowledge
for easy access when needed. The secret is to know design rules, but to know when
rules can be relaxed or broken.
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Name of ALLAH,
Oil paint,
By Naseem.
Size 44 x 32 inch
Collection of the artist.
Most of my painting is now done in the studio,
but I spend much time observing and absorbing
the world around me.
My daily walks, my Association with other
people, the visiting museums and time for
daily Contemplation all contribute to visual
Intellectual and emotional enrichment.
An artist cannot work in a vacuum and must
lean to be sensitive to the shapes Patterns
and moods of nature as well As to the general
experiences of life.
The bustle of the city provides Inspiration
for some artists if they have learned to
look closely at what is there before the
eyes or deep within the heart.
.
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What I want to see.
Every artist makes adjustment in painting to
fit a personal concept of the world.In my
paintings for example I make value and color
adjustments to try to capture a
feeling of light and dark.
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Name of ALLAH,
Oil paint,
By Naseem.
Size 44 x 34 inch
Collection of the artist.
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Color is the most difficult element in painting
to get right. To paint a Picture with strong
value, good design, good drawing, and depth,
and still retain vibrant color is really
a challenge.
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BISMEALLAH,
Oil paint,
By Naseem.
Size 18 x 14 inch
Collection of the artist.
Painting reflects our inner selves and what
we literally “are,” and we are
not all spontaneous by nature. As artist,
we should be expressing our individual view
of the world, not trying to conform to someone’s
idea of what a painter should be.
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Looking at master paintings is an excellent
way to improve your perception and advance
your own painting.
My figure and my landscape work may look
very different, but I am concerned with many
of the same issues in both. My landscape
paintings convey the nearly ecstatic experience
I often have when I open my eyes and my whole
being to the wonder that exists around us.
I paint most of my landscapes in late afternoon
light, a moment when the sun rays skim nearly
parallel to the ground. At this luminal passing
from day to night, light streams through
leaves, through blades of grass, through
dry grain stalks, revealing searing yellows
and acid greens, unveiling an intrinsic intensity
which is only unlocked when rays of light
flow through these living forms before reaching
our eyes. In observing and painting the brightness
and saturation of these colors, along with
the crimson of the setting sun and the deep
blues and violets of the heightening shadows,
I am celebrating a magical world. The methods
I use in the landscapes are different from
those of the figure paintings. I often begin
by blocking in several sections of the canvas
with a layer or two of color. Sometimes these
colors are the complement of the color of
what I see in a particular area. When I am
content with the basic composition and color
scheme, I go over this wash with specific
shapes and strokes. When I paint en plain
air, I'm intensely aware of the changing
light, the passing of time as day becomes
night. Perhaps my painting these landscapes
is an attempt to hold onto a fleeting ecstatic
moment.
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