When Words Disappear into Trees, Seher Shah
Installation view at Green Art Gallery, Dubai, 2021
Seher Shah, Ruined Score, 2020
Etchings on Velin Arches 300 gsm paper, 50 x 40 cm
Seher Shah, Ruined Score, 2020
Etchings on Velin Arches 300 gsm paper, 50 x 40 cm
Seher Shah, Ruined Score (detail), 2020
When Words Disappear into Trees, Seher Shah
Installation view at Green Art Gallery, Dubai, 2021
Seher Shah, Argument from Silence (weight and measure), 2019
Polymer photogravures on Velin Arches paper
Paper size: 63.5 x 76 cm, Plate size: 42 x 56 cm, Ed. of 20
Seher Shah, Argument from Silence (weight), 2019
Polymer photogravures on Velin Arches paper
Paper size: 63.5 x 52 cm, Plate size: 42 x 31.75 cm, Ed. of 20
Seher Shah, Argument from Silence (fragments and bodies) (detail), 2019
Seher Shah, Argument from Silence (fragments and bodies), 2019
Polymer photogravures on Velin Arches paper
Paper size: 63.5 x 52 cm, Plate size: 42 x 31.75 cm, Ed. of 20
Seher Shah, Argument from Silence (field measurements), 2019
Polymer photogravures on Velin Arches paper
Paper size: 63.5 x 52 cm, Plate size: 42 x 31.75 cm, Ed. of 20
Seher Shah, Foreign dust (Landscape 3), 2019-2020
Graphite dust on paper, 55.9 x 76.2 cm
Seher Shah, Foreign dust (Landscape 3) (detail), 2019-2020
Seher Shah, Foreign dust (Landscape 2), 2019-2020
Graphite dust on paper, 55.9 x 76.2 cm
When Words Disappear into Trees, Seher Shah
Installation view at Green Art Gallery, Dubai, 2021
Seher Shah, Foreign dust (Variation 15), 2019-2020
Graphite dust on paper, 55.9 x 38.1 cm
Seher Shah, Foreign dust (Variation 15) (detail), 2019-2020
Graphite dust on paper, 55.9 x 38.1 cm
Seher Shah, Foreign dust (Variation 9), 2019-2020
Graphite dust on paper, 55.9 x 38.1 cm
Seher Shah, Variations in Grey, 2020-2021
Graphite dust and ink on ivory Russian paper, 21 x 29 cm
Seher Shah, Variations in Grey (detail), 2020-2021
Seher Shah, Variations in Grey, 2020-2021
Graphite dust and ink on ivory Russian paper, 21 x 29 cm
When Words Disappear into Trees, Seher Shah
Installation view at Green Art Gallery, Dubai, 2021
Seher Shah, Night, 2018
Oil on Stonehenge white rag paper, 55.9 x 76.2 cm
Seher Shah, Night, 2018
Oil on Stonehenge white rag paper, 55.9 x 76.2 cm
Seher Shah, Night (detail), 2018
Artist's Rooms: Seher Shah and Randhir Singh, Installation view at Jameel Arts Centre, 2019
Seher Shah and Randhir Singh, Studies in Form, Barbican Estate, 2018
Artist's Rooms: Seher Shah and Randhir Singh, Installation view at Jameel Arts Centre, 2019
Seher Shah and Randhir Singh, Studies in Form, Dentsu Head Office (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 38 x 28 cm
Ed. of 5
Seher Shah and Randhir Singh, Studies in Form, Brownfield Estate (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 38 x 56 cm
Ed. of 5
Seher Shah and Randhir Singh, Studies in Form, Barbican Estate (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 38 x 28 cm
Ed. of 5
Seher Shah and Randhir Singh, Studies in Form, Barbican Estate (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 56 x 76 cm
Ed. of 5
Seher Shah and Randhir Singh, Studies in Form, Dentsu Head Office (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 56 x 76 cm
Ed. of 5
Seher Shah and Randhir Singh, Studies in Form, Hewn Blueprints (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 38 x 28 cm
Ed. of 5
Seher Shah and Randhir Singh, Studies in Form, Flatlands Blueprints (detail), 2018
Cyanotype prints on Arches Aquarelle Paper, 38 x 28 cm
Ed. of 5
Seher Shah, Single Utopias (Nakagin I, Tokyo), 2017
Graphite on paper, 165 x 127 cm
Seher Shah, Single Utopias (Golconde IV, Pondicherry), 2017
Graphite on paper, 127 x 101.6 cm
Seher Shah, Object Repetition (Wall and Landscape), 2017
Cast iron, Dimensions variable
Seher Shah, Object Repetition (Wall) (detail), 2017
Cast iron, 25.4 x 121.92 cm
Installation view, The Lightness of Mass, Green Art Gallery, Dubai, 2016
Seher Shah, Untitled (cantilever cut), 2015
Cast iron, 21.5 x 10 x 16 cm, Ed. of 2
Seher Shah, Untitled (upright grid), 2015
Cast iron, 29.5 x 16 x 12.5 cm, Ed. of 2
Seher Shah, Untitled (bridge), 2015
Cast iron, 18.5 x 10.5 x 38 cm, Ed. of 2
Seher Shah, Hewn (monolith object), 2014
Woodcut on A4 grid paper, 30 x 21 cm
Seher Shah, Hewn (curved spaces), 2014
Woodcuts on A4 grid paper, 30 x 21 cm
Seher Shah, Unit Object (landscape view), 2014
Etching with aquatint on Arches paper, 58.5 x 66 cm, Ed. of 20
Seher Shah, Unit Object (house), 2014
Etching with aquatint on Arches paper, 58.5 x 66 cm, Ed. of 20
Seher Shah, Machrie Moor I, 2015
In collaboration with Randhir Singh, Digital Print
121.92 x 86.36 cm, Ed. of 5
Seher Shah, Flatlands (Scrim), 2015
15 - panel drawing, Ink on Paper, 236 x 546 cm
Seher Shah, Flatlands (scrim) (detail), 2015
Seher Shah, Capitol Complex, 2012
Collage on paper, 28 x 36 cm (each)
Seher Shah, Capitol Complex: X Block, 2012
Collage on paper, 28 x 36 cm
Seher Shah, Capitol Complex: Blue Object, 2012
Collage on paper, 28 x 36 cm
Seher Shah, Hinterland Structures: Observation Tower, 2011
Duratran in wood light box, 13 x 18 x 8 cm
Seher Shah, Hinterland Structures: Shed, 2011
Duratran in wood light box, 13 x 18 x 8 cm
Seher Shah, Object Repetition (line to distance), 2011
480 cast hydrocal objects with ink, Dimensions variable
Seher Shah, Object Repetition (line to distance) (detail), 2011
480 cast hydrocal objects with ink, Dimensions variable
Seher Shah, Emergent Structures: Relative noise, 2011
Graphite and gouache on paper, 183 x 183 cm
Seher Shah, Unit Object (bent), 2011
Graphite and gouache on paper, 76 x 56 cm
Seher Shah, Untitled (walls), 2010
Graphite and gouache on paper, 183 x 183 cm
Detail of Seher Shah,
Argument from Silence (fragments and bodies), 2019
Seher Shah’s practice is dedicated to drawing, printmaking and sculpture. The intimacy of the hand, through mark-making, has been a source of curiosity, research, and experimentation in her practice. She has worked with drawing and printmaking exploring ideas in architecture and perspective drawing traditions; contested relationships between history, objects and time; and the relationship between poetry and abstraction. Through works on paper using drawings, etchings, photogravures and woodcuts, and sculptural studies in cast iron, her work speaks to the poetics and fractures of how we view the landscape, through the historical and intimate.
She is involved in long-term collaborative exchanges with architectural photographer Randhir Singh and the Glasgow Print Studio, through studies in form and intaglio printmaking.
Detail of Seher Shah and Randhir Singh, Studies in Form, Barbican Estate, 2018.
Seher Shah (b. 1975, Karachi) received her Bachelor of Fine Arts and Bachelor of Architecture from the Rhode Island School of Design in 1998. Her works can be found in collections ranging from The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Queens Museum, New York; Brooklyn Museum, New York; Centre Pompidou, Paris; Tate Modern, London; Art Jameel Collection, Dubai; Hallen für Neue Kunst, Schauffhausen; Kiran Nader Museum of Art, New Delhi; and the Thyssen-Bornemisza Art Contemporary Foundation, Vienna amongst others.
Ruba Al-Sweel reviews Seher Shah's solo exhibition When Words Disappear into Trees.
This brief essay by Arushi Vats unravels the concepts used by Bakirathi Mani to focus on a single artwork as a location for a multi-pronged critique of empires- as state, archive and image.
The AR February 2021 issue on Gardens featured a wraparound cover, specially commissioned from the artist Seher Shah. Shah’s practice explores the poetics and fractures of architectural space through drawing, printmaking and sculpture. Her practice as an artist and her education in architecture has allowed for a method of working that is informed by both fields, through drawing, abstraction and materiality.
Artist Seher Shah and museum director Glenn D. Lowry bring their discrete observations on what constitutes the “contemporary” and what influences and plagues their respective practices
What are artists thinking and doing? The eighth edition in the series of Reflections from Home features Seher Shah.
Catherine Croft writes about Seher Shah and Randhir Signh, two Delhi-based artists who make cyanotype images of brutalist buildings.
In her essay, Olivia Laing describes how Seher Shah and Randhir Singh used cyanotypes to explore the abstract qualities of four architectural developments around the world, among them the Barbican Estate in London where the author lives.
A group show in Cambridge tackles potentially fraught subject matter with subtlety rather than bombast.
Katrina Kufer reviews Jameel Art Centre's Artists Rooms: Seher Shah and Randhir Singh.
Murtaza Vali's take on Seher Shah's large-format drawings.
A review on Seher Shah's The Lightness of Mass exhibiton.
A review by Malak Hassan on Seher Shah’s first solo exhibition at Green Art Gallery, Dubai.
A review of Seher Shah's first solo show The Lightness of Mass in Dubai by Bibhu Pattanik.
Through a series of artworks in a variety of mediums, Seher Shah re-imagines concrete structures through drawing and sculptures.
Five artists who have looked at the city through different eyes.
The show brings together work by artists inspired by formal traditions in which the decorative hasn’t been treated with such suspicion.
Niru Ratnam writes about Seher Shah's practice in the selection Future Greats in Art Review Asia.
Domus India features Seher Shah in two articles, Architecture as Resource and Drawing Allegories written by Kaiwan Mehta.
Asif Akhtar talks with Seher Shah about her series of work from 2010-2012.
A Review of Seher Shah's exhibition 30 | 60 | 90.
Seher Shah explores the language of the architectural diagram with her use of geometry, perspective and line but she treats the diagram as the generator of a to-be-determined design proposal.
Seher Shah discusses the intersection of architecture and drawing in her work.
Susan Scafati Shahan reviews Seher Shah's solo show at the Austin Museum of Art - Arthouse.
Radical Terrain is the last of three small, carefully judged, back-to-back exhibitions in the series Modernist Art From India at the Rubin Museum of Art.
Lines of Control, curated by Iftikhar Dadi and Hammad Nassar at Cornell University’s Herbert F. Johnson Museum of Art, gathered over 40 works in varied media that dwell on the theme of borders.
Shah talks about the pieces she is currently working for two upcoming exhibitions Radical Terrain at the Rubin Museum and a solo exhibition Constructed Landscapes at the Jones Center in Austin, Texas.
ARTINFO caught up with the Pakistan-born Brooklyn-based artist for a deeper understanding into her complex work.
Kaelen Wilson-Goldie reviews Kamrooz Aram and Seher Shah's work in the exhibition Brute Ornament at Green Art Gallery in Bidoun Magazine.
Seher Shah is even more forceful about how public space and architecture can reflect the will to impose dominion.
Drawing allows freedom in terms of representations of space where contradictory and parallel ideas, as well as shifts in scale, can exist simultaneously.
A new exhibition at Dubai's Green Art Gallery features two artists that couldn't be more different: one adept at drawing ultra-detailed cityscapes in graphite, the other can suspend a decorative image at the point of obliteration.
Modernism's hard edges haunt Seher Shah, but it has not lost its edge. Geometries divide and multiply her images, like memories.
In Geometric Landscapes and the Spectacle of Force, the Pakistani artist Seher Shah works with archival images of the 1903 Delhi Durbar and contemporary images of the U.S. "war on terror."
Seher Shah’s black-and-white drawings are structured like lattices in which architectural façades are superimposed with delicate markings, linear details confront black voids and archival imagery intersects with multicultural symbols.
An enormous surge of interest in drawing has registered in contemporary art discourses over the last two decades, when several important museum exhibitions and publications identified its new found relevance. Karen Kurczynski explores this phenomenon through the works of contemporary artists, Seher Shah, Raymond Pettibon and Glenn Ligon.
Seher Shah is also occupied with the use of certain symbols and iconography relating to power and authority from the archives of the imperialistic past.
Alexander Keefe discusses Seher Shah's black-light landscapes, both abstract and visionary in their complexity.
