I believe in aesthetics and the marvels of nature. I am a dreamer. My canvas is a mirror to the different periods one may experience to reach the safe havens of contentment, serenity and inner peace,” says artist Tabinda Chinoy.
Seeing women in states of ennui or emotional paralysis has been the impetus of Chinoy’s painting style.
“A flourish of brush strokes inured to turmoil, conflict, human poignancy and innovation; a dreamer striving for perfection through visualisation of fantasy,” she explains. In her search for truth, the usual slings and arrows were trained towards her and she found herself in the midst of controversy that was more of an academic nature.
“My work was stylised and was being described as a documentary on social disorder in visual terms. I was very disturbed. What else could I be? Either I could explode or touch the highest levels of restraint,” she says. Fortunately, she adds, she got a mix of the two and sanity prevailed to find a balance in this mad, mad, mad world that surrounds her.
It is through a combination of these works that she has tried to reflect upon the ideal world – urban and rural.
“My being is firmly rooted in a reality – often ugly – that I seek to make less so. Can I achieve this? Through my canvas I can but try,” she concludes. Chinoy studied art at the Karachi Arts Council for four years and at London’s Slade School of Fine Arts for a year.
She has also taught art appreciation at the Aga Khan University College of Nursing for two years. She specialises in figurative art. Besides Karachi, she has also exhibited her artwork at Dubai’s JI Gallery and Crowne Plaza, and Kuala Lumpur’s Convention Centre.
Photos courtesy Zanbeel Art
