Mindy Solomon Gallery

Mindy Solomon Gallery

8397 NE 2 Ave
Miami, FL 33138
[email protected]
mindysolomon.com
786-953-6917

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Nadia Waheed

Nadia Waheed:
I Climb, I Backtrack, I Float

December 3, 2020 - January 16, 2021

Mindy Solomon gallery and curator Ché Morales are pleased to present a solo exhibition by artist Nadia Waheed.

This recent series of work by Nadia Waheed marks a shift into new visual territory; sweeping mountainscapes, lush forests, still water – figure and nature weave together to build a picture of the internal narrative of the artist during these last eight pandemic months. Inherently autobiographical, the colorful, allegorical paintings reflect the quiet focus and intention the artist held for herself in the midst of the cacophonous sounds of modernity. Contending not just with the overwhelming sense of anxiety and fear felt in the face of a social and economic cataclysm, Waheed dealt also with the deterioration and near death of her father. The struggle of contending with this internal and external strife as well as the challenge of finding a way, not just to move forward, but more importantly, to make meaning, was the main objective of the artist. This work was borne from the tiny space between uncertainty and impossibility, a one inch gap where resilience lives, where survival lives. I climb, I backtrack, I float is the visual diary of someone attempting to find peace in calamity and clarity in muddied waters.

The paintings guide us through – Message From Janus (Day One) marks the beginning of our timeline and also sets the tone of the artist’s intention. A nod to the two faced Roman god, Janus, who symbolises new beginnings and transitions, time and duality, two figures stand facing each other, different silks hung from their necks. One grayscale figure stands eyes open, at the ready, hovering still over running water. The other in shades of muted brown stands eyes closed, seemingly listening; an electric line of yellow connect the two over the softened treeline. The grey and brown figures weave between rich color, the contrast mimicking the sense of displacement and emotional upheaval the artist felt for much of the pandemic. In The First Three Months (Mountains), a figure in shades of grey hovers high in the stratosphere, the curvature of the earth bending behind her. She is suspended above, far away, alone, above brown and orange rock. She can see everything and nothing at once.
Nadia Waheed
Nadia Waheed
The vibrancy of the light filtering through the dense green forest of Śūnyatā, Kenosis hums at a quiet resonance, the gold embroidery of the greyscale figure’s red net bridal dupatta glittering through the leaves. According to Buddhist philosophy, Śūnyatā is the spiritual voidness from which all entities and connections spring from; it is not a negation, rather a primordial and necessary door to self-liberation. Kenosis, coming from Christian theology, is the ‘self-emptying’ that Jesus undertook to ready himself for the power of God’s will. The recontextualization of “emptiness” from an inherently negative connotation into ‘phase one’ of a greater spiritual evolution sat at the core of Waheed’s intentions. In Nexus a high contrast figure brushes eyelashes with a star studded universal being. The largest and most recent work, The Last Three Months (Lilies) is Waheed’s depiction of her ‘phase two’. Suspended on the surface of a sea of lily pads that stretch deep into the horizon, a greyscale figure kneels in the water, glittering ripples moving outward. Hands cupped open in her lap, a halo of flyaways illuminated in the setting light. This isn’t a painting of enlightenment, this isn’t pure elevation or nirvana. She is still connected, still earth-bound and carrying mortal burden. Her expression is weighted, but her shoulders relaxed. She is in balance, harmonious. The frisson of internal and external is quieted. The unnecessary has fallen away, and only the truth remains.

About Nadia Waheed

Born in Saudi Arabia but originally from Pakistan, Nadia Waheed (b. 1992, BFA 2015 School of the Art Institute of Chicago) makes large scale allegorical figurative paintings that are partially autobiographical and explore female selfhood, vulnerability, and cultural trauma. She has lived and worked in Austin since mid 2018.
Nadia Waheed
Asif Hoque

Asif Hoque: Lover's Rock

November 30, 2020 - January 16, 2021

Mindy Solomon Gallery and curator Ché Morales are pleased to present Lover’s Rock, a virtual art experience designed by Hoque and Morales and digitally executed by Adriana Avendano, featuring artworks from Asif Hoque’s first solo presentation with the gallery.

Lover’s Rock is a modern epic. A world synthesized from Hoque’s life experiences—past, present, and yet to come—set to the backdrop of familiar classical architecture and mythologies. The unorthodox story centers around the journey of two brown-skinned lovers who find their way to one another, guided by mystic spirits that grow alongside their mortal counterparts.

Though the tale follows a seemingly conventional romantic narrative, Hoque’s universe carries a full intentionality to convey the wholeness of each figure, whether it be a lover, or a winged guardian. Each curved and coiffed body at peace — writing a story of self love that paves the way for a procession to harmonious unification.
Asif Hoque
Asif Hoque

From deliberate allusions to the flora of Hoque’s home state Florida, an homage to a memorial site in his home country Bangladesh, to the romanesque architecture of his childhood upbringing in Italy; each element that pervades throughout the eerily pristine, ancient site, builds upon the amalgamation of Lovers Rock that feels both intimate and foreign, evoking a sense of déjàvu. In this way, Hoque’s idyllic universe simultaneously carries the weight of the unstoppable forces of time. A reminder that our bodies will change, cultures will evolve, people will pass, and the earth will never be the same.

“This is a now thing” — Hoque.

Hoque’s artwork can be found embedded throughout the virtual experience as a companion to the solo presentation of the artwork on view by appointment only at Mindy Solomon Gallery.

About Asif Hoque

Asif Tanvir Hoque (b. 1991) currently lives and works in Brooklyn, New York. He has appeared in numerous group shows. As a Bangladeshi immigrant, who was raised between Rome and South Florida, Hoque’s paintings attempt to figuratively and stylistically combine aspects of multicultural
identity.

His early work highlights his fascination with classical fine arts, but with the progression of his skill and his self-discovery, Hoque challenges his audience to explore aspects of self that are authentic. Hoque hopes to address the unique experience of living in the “in between”.

Asif Hoque

About Mindy Solomon Gallery

Mindy Solomon Gallery specializes in contemporary emerging and mid-career artists and art advisory services. The gallery represents artists working in painting, sculpture, photography, and video in both narrative and non-objective styles. The gallery program explores the intersection of art and design through an ongoing dialog between two and three-dimensional objects, while embracing diasporic voices. Utilizing the gallery space as a platform for inventive exhibitions, museum visitations, and public lectures, Solomon invites a sense of community and aesthetic enrichment.

Solomon founded the gallery in 2009 in St. Petersburg, Florida, where she established her reputation as a contemporary art dealer. She is a Board member of the Miami Art Dealers Association and is currently located in the Little River Arts District of Miami.