Hinterland is a non-profit organization and independent art platform. Hinterland works with a small team of enthusiastic volunteers interested in building bridges through art. For our work we need your help and support.
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some more information about the artist:
Born and raised in the region to the north of Vienna known as the Waldviertel, Josef Polleross soon developed into a cosmopolitan photographer, residing successively in New York, Cairo and Bangkok. Now based in Vienna, he is a master of many genres of artistic and journalistic photography. In the 1980s Polleross went to New York, where he began working with the photo agency JB Pictures, launching a career as a photojournalist that both sent him off around world and put his work on the covers of numerous international periodicals. His photos accompanying political and social reportages soon appeared in newspapers such as the New York Times and Washington Post, and in magazines including Life, Newsweek, Time, Geo, Stern and Spiegel. Then, several years ago, Polleross turned his attention almost exclusively to artistic photography and to the classic format of the triptych. His Triptychs have won widespread acclaim in numerous exhibitions in Austria and abroad, and his exquisite photo books have also enjoyed great success.
My name is Amna Suheyl and I was born and raised in Lahore. I graduated from the National College of Arts in 2017 with a major in Printmaking and am currently teaching at my Alma Mater as a second year instructor for printmaking. I currently pursue my practice as a visual artist in Lahore as well. My influences are driven from literature, history and human endeavor and are widely used in my work as a printmaker.
My works are based on a series of themes that often overlap; majorly my work is centered around displacement and loss, with a keen insight into empathizing with the human condition. Although I was born and raised in Lahore; my mother was an immigrant from Dhaka, Bangladesh, who fled to West Pakistan from the previously known East Pakistan (present day Bangladesh), during the civil riots in 1971. I have grown up listening to her harrowing tales of her migration and the loss that ensued; leaving her homeland and an entire life in the hope of a safer future in an unknown land. Her experiences have widely influenced and shaped my worldview on identity and has led me to empathize with feelings of loss, displacement and liminal spaces. Her recent passing has developed an even stronger sense of loss, and has naturally influenced my practice as the my earlier work has converged into a more personalized context of loss and displacement. My work widely features the human figure; more specifically the feminine, exploring the feminine as a metaphor for ongoing life, regeneration and perseverance of the human experience.
The addition I have created for this project is also driven from a reference of my mother; who was my muse and I have taken one of her images as the departure point to create this piece; treating the figure as a ghostly entity, evoking ambiguity, longing and subtle fear.
Born in Al-Hasakah – Syria in 1980. He graduated from the University of Fine Arts in Damascus, Syria in 2011. He came to Vienna in 2014.
2002: Graduate of the Fine Arts Center – Al-Hasakah- Syria.
2011: Fine Arts Graduate – Damascus – Syria.
Adel Dauood’s art is a transition between abstraction and concreteness, expressionism and surrealism, colour explosion and reduction. His small-format paper works are home to fabulous beasts: dangerous and yet friendly they inhabit the roughened paper plane with their long, entwined legs, pointed teeth and numerous eyes and udders. But of late, these small formats and the black and white of ink or charcoal on paper are not enough to satisfy them – “they need more space and colour”, Dauood says. So they have broken out and now increasingly accompany the humanlike figures in Dauood’s large-sized, bright-coloured oil and acrylic paintings. Dauood does not make mimetic portraits of concrete persons. He gets to know them only while painting them and burns the midnight oil with them. They are portraits of human nature or humanity itself, portraits of felt, sensed, lived and imagined lives. Dauood’s inspiration pieces his pictures together: a foot here, a face there, arms growing out of a vortex of lines, body parts and bright colours. The fact that banal fragments of reality are consistently found in Dauood’s artistic works – slippers, taps or bowls – underlines how his scenes are formed somewhere between the artistic space and the living space, as well as, reality and fantasy.