Residents / ROSL Visual Art Scholars 2017

  • Madiha Aijaz

    ROSL Visual Art Scholars 2017

    Madiha Aijaz works with photographs, film, and fiction. Her practice is concerned with how people experience pleasure, privacy and entertainment in changing, often fractured urban spaces. She has been photographing railroads, traveling fairs, devotional towns and public libraries to read into found situations and conversations which embrace failure and yet continue to offer resistance. She is also interested in what the camera often accords – the simultaneous occurrence of veracity and theatricality in its reproduction of events and scenes.

    Aijaz has shown in Pakistan and internationally and is currently developing a documentary feature on traveling fairs and performers in Pakistan with co-director Maheen Zia. The film has received support from Locarno’s Open Doors Programme and the IDFA Bertha Fund. Her book on the Hindu temples in Pakistan was published in 2014 (Call to Conscience, Abbasi, Aijaz, Niyogi Books, New Delhi).

    Aijaz is an Assistant Professor at the Indus Valley School of Art and Architecture, Karachi and holds an MFA in Photography from Parsons as the recipient of the Fulbright Scholarship.

  • Stephanie Hier

    ROSL Visual Art Scholars 2017

    Stephanie Hier was born in Toronto, Canada, in 1992 and is currently based between Toronto and New York. Recent exhibitions include: Part and Parcel, Downs and Ross, New York, 2017; Be true to your teeth and they won’t be false to you, NEOCHROME, Turin, 2017; Bone Dry, ThreeFourThreeFour, New York, 2016, Here’s the catch, Johannes Vogt Gallery, New York, 2015; Pot Shop, Ed Varie, New York, 2014

    Hier’s work recognises that nothing sits in isolation, ideas and objects are emboldened by their neighbour and relationships constructed by context and surrounding, an idea emphasised by the internet, where all exists and is readily available in a single, level entity. It is within this flatness of possibility that Hier’s practice emerges: paintings that fold in imagery and symbols from a multitude of sources. Her use of contemporary cultural symbolism, such as temporary tattoos or cartoon hands, evokes the idea of the everyday and mass produced. The use of this content alongside skilled, traditional brushwork, opens up the relationships between images, art and painting.

    Hier’s work speaks directly to the labour of artists and specifically the canon of painting, by depicting and displaying pertinent materials and tools used in the making of art, while also pointing a finger (both literally and figuratively) to all 21st Century image consumers. Her choice in materials, imagery, tools and references epitomises the visual world as it currently exists and the painter’s relationship to it.

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