https://amberarifeen.com/portraits-in-context daily 0.75 2023-03-17 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550767691475-YWGMXO8VXWRGJQMHZGCO/The+Flight+Attendant.jpg Portraits in Context - The Flight Attendant, 2019 Acrylic, Oils, Charcoal and Image Transfer 96 cm x 143 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550767691475-YWGMXO8VXWRGJQMHZGCO/The+Flight+Attendant.jpg Portraits in Context - The Flight Attendant, 2019 Acrylic, Oils, Charcoal and Image Transfer 96 cm x 143 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1555520670109-9SF6PHW7RW3IUQ8GHR5G/miyu.jpg Portraits in Context - Miyu (2019) Mixed Media on Canvas 112 cm x 173 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1555520764361-65ACBI16032OGZQZO5FV/fullsize.jpg Portraits in Context - The Trekker (2019) Mixed Media on Canvas 100 cm x 140 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550767774660-ZGI0VP90V0FY2VDGRS6U/London+Doors.jpg Portraits in Context - Home (2019) Acrylic, Oils, and Image Transfer on Wood Panel 120 cm x 69 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550405109767-I974YFYZPFOL39HIXPAG/IMG_2521+2.JPG Portraits in Context - The Underground (2019) Acrylic, Ink, and Image Transfer on Paper 18 cm x 61 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550405149341-RX45MC1TFV939DRSROW5/IMG_2581.JPG Portraits in Context - The Beautician (2019) Acrylic, Ink, and Image Transfer on Paper 18 cm x 61 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1555521075942-7LYH9F39YN5QXBW39RNK/amelia.jpg Portraits in Context - Amelia (2019) Mixed Media on Canvas 112 cm x 173 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1555521129449-DV5JAV0LGZB5LMY4PV0X/selfpotraitdance.jpg Portraits in Context - Self Potrait Fabric, Collage, Image Transfer and Acrylic on Canvas 49 cm x 39 cm https://amberarifeen.com/projects-forte daily 0.75 2023-03-17 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1678871762024-F0M2YL26T4SHF618X5YQ/image-asset.jpeg 2022 - The Rose / Gulab Day Performance in Karachi, Pakistan In the plant and flower kingdom, the Rose has no gender. By dressing up as a man with Jhumka's, which lends into, visually, both genders, and entering male dominated spaces across Karachi, the performance aimed to disrupt the image of man and the image of woman, which is conditioned in the minds of people. By entering those spaces as an androgynous person, it also served to disrupt the spaces that only cater to and/or are operated with heterosexual men. I was accepted into those spaces, as I blended in quite naturally, which otherwise would have been a completely different experience and undertaking. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1678859779805-L7PD749PX1AGC6TEFS3W/MHeiderich-NIP01-edit.jpg 2022 - I AM IN THE COLOURS Corresponding Note written by Art Writer, Nayha Jehangir Khan Arifeen’s departure from representational figuration with autobiographical narratives into a form of abstract expression and colour field painting signals the beginning of a deeply introspective journey. As she reflects on personal life experiences, Arifeen has immersed herself in therapeutic meditations that have become a catalyst in activating a painterly autonomy. Breaking away from classical horizon lines, formalistic investigations and the rigidity of thematic subject matter into a form of automatism that is uninhibited by her previous work. Colour is a visual intervention acting as a gateway into the subconsciousness enabling her to transcend traditions of classical landscape. The frequency of colours are heightened, the brush strokes exaggerated, the depth of field elongated and the mystically imagined foliage creates a transportative experience for the viewer. The naturalism in Arifeen’s work is encapsulated by her intricate detailing of lush green leaves, trees, and wild grass, lining the trails of these ancient rock formations. The swinging pendulum of perspectives are anchored by the avalanche of colours spreading across the series purposefully trapping abstraction within realism. Crisp highlights of sun rays pierce through psychedelic mountains bringing to the surface the stillness and silence of nature. The infinite wisps of clouds hanging in the distance become calming and soothing constellations that gaze back at the viewer. The thrilling re-enactments of nature present a vision of emotions carved as brushstrokes and unapologetic selections of colour. These painterly cues become guides in navigating the series of kaleidoscopic scapes as the artist presents the transformative experience that nature has had on her seen through the lens of memory on the canvas. https://amberarifeen.com/2021 daily 0.75 2023-03-17 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1678864278521-AQP8F9DJAFC96ODF9OWJ/image-asset.jpg 2021 - THE TARANTATA film Trailer In October 2020 I was accepted into Domus Art Residency in Southern Italy. Domus is an international eco-feminist residence based in the baroque town of Galatina, dedicated to the Mediterranean and South. The residency project was documented as a short documentary film that contextualizes seven dances in seven different locations across the region of Puglia, Southern Italy, in October of 2021. The performances were part of an investigation into the ancient Tarantismo dance ritual that took place every year in Puglia up until 50 years ago and the contemporary issue of the Olive Tree decimation, in which acres of Olive tree fields have been eradicated in the region owing to the spread of a mysterious disease – Xylella- a result of climate change. The film chronicles my own journey and experience of growing up as a woman in Pakistan and draws parallels with the history of Tarantismo and the current destruction of the Olive tree. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/cea12aec-9162-4849-bd0d-d9594d907ddc/A+room+full+of+people.jpg 2021 - NATURE OF AN AFTERTHOUGHT: A POSTERIORI Artist Statement Consciousness is subjectivity at any given point in time. It is the expanse where sensations, thoughts, and sounds appear and meet in a singular moment, to produce experience and construct our reality. We assign meaning to these experiences through learnt perceptions and values. Memory – the nature of which is an afterthought, also resides as an appearance within this space of consciousness. Memory is an attempt to form meaningful narratives of what one remembers of past moments. Today, our relationship to memory has changed owing to technology and imagery. In making sense of the story of the past, we now also have available tangible remnants of the past to support that memory, which come in the form of photographs, objects, videos, and recorded sounds. The integration between the digital and human consciousness now evokes sensibilities that mimic game simulations and lucid dreaming, blurring the lines that might distinguish memory from a dream and perception from reality. Stemming from my interest in meditation and understanding consciousness, this series of work explores the idea of memory, meaning, and lived experience as appearances within consciousness that live on as a continuous process or a story that is ever evolving and never quite complete. My own subjective experience and the digital remnants of a time when I lived in Karachi have been used to recreate this process. Color plays the role of emotional memory in the work, giving a feeling tone to these experiences as remembered. Layered images, referring back to national events, cultural and religious narratives, as well as personal associations, hide behind clothing and objects, obfuscated and screened but recognizable when closely examined and paid attention to. A number of hypocrisies and contradictions hide in plain sight, revealing connections between the personal and political, and a larger collective consciousness that blankets all South Asian female experience. The role of the army, partition, Bollywood and Lollywood, the media, and global transformations such as the internet, as they relate to each other and relate to my everyday experience of being a woman in Pakistan, have been highlighted in the work. A historiography of this trajectory is traced in the likes of three South Asian women. Mah Laqa Bai Chanda; a highly regarded courtesan, nautch, poet, and political advisor to the royal court of Deccan from the early 19th century, Sara Shaghufta; a young poet in the 1980’s who was ostracized and disregarded by her (mostly male) peers for her bold words and colorful lifestyle (eventually shamed and shunned by her family she committed suicide at the age of 29); and Qandeel Baloch; who was a social media star, murdered by her own brother for family honor in 2016. This work ties into my larger practice and interest in the South Asian Female experience. Through two-dimensional mark-making and my own bodily movement, I try to capture the flows of knowing, seeing and embodied intermingling specific to the Asian female and their everyday environments. Playing with surface, colour and texture is a process of subversion and protestation, enabling me to explore their physical and psychological interiorities. https://amberarifeen.com/2020 daily 0.75 2023-03-18 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1679039158102-HAKDM9SD5HGUUF08NNK3/image-asset.jpeg 2020 - The Bride - 2 Hours 30 min Performed at Laal Jadoo (Red Magic), Karachi, Pakistan, curated by Amin Gulgee Corresponding Essay by the Artist The first fundamental colour, red is the shade of love and war, of passion and power, of desire and danger. For centuries now, red has been the colour of marriage in the Indian subcontinent. Considered auspicious and pure, it stands as the traditional colour worn by brides, as a symbol of beauty, wealth, and a prosperous future. In ceremony, a bride sitting on a stage in red, heavily worked attire and decadent jewelry is a display of these symbols. However, what they lack in their revelations is their duality; that with the hope of beauty, wealth and prosperity comes the burden of sacrifice of Self, in which case the color Red begins to symbolize pain. As such the red bride on display becomes a contested sight, one that represents a false freedom. For my performance act I wanted to use this opportunity to demonstrate the embodied experience of this contested space – the space of in-between. A bride sits on a chair as if on a stage, adorned with jewellery and heavily worked red clothes. At first glance she seems at ease in her state, until she tries to get up from the chair but can’t because of the masked chains that tie her to it. Every few minutes she tries to get up but ultimately has to sit back down, unable to free herself from the heavy attire and chains that weigh her down. I use stories of female experiences and spaces as a way of reframing the colonial gaze and subverting the male gaze. This act challenges the audience to shift perspective. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1679034996291-8USXW9R5R2XXNIM0BSTZ/_DSF8155.jpg 2020 - Scultpure series: Existence precedes Essence Artist Statement I am concerned not solely with the Subject, but with the constitution of the subject, by the process of violent transformation that constructs the Subject. I am not concerned with what is essential in being a South Asian Woman, on the contrary, I reject this notion of essentiality*, that all things have fixed properties or an essence that defines their form. Rather, I am interested in establishing the opposite. What is ‘essential’ is a construction and imposition, and not intrinsic. It is my view that the form arises from the Self, i.e, it is the Self that makes the form (an idea that has been proposed by existentialist philosophers). To exist is to exercise the Self and help shape the form that defines it. This series of sculptures speak to this idea. I begin with the construction of a skeleton using found objects, CD’s, plastic cups, wires and then build a number of layers over it, with paper, glue and plaster until a form begins to show. By the end of this process I have forms that resemble female bodies, but are in no way identical or similar. The curves point to a female body, but each form is unique and different. One might be quick to think that it is these curves that give the forms their “female bodily” essence – however the process with which these forms were created and transformed subverts this notion, demonstrating that it is the “existence of the forms that precedes the essence”. * https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1678884992411-6QQ7OU24FUNZYKUU80R3/Nacho.jpg 2020 - Being and Becoming Corresponding Essay by the Artist Drawing on philosophical notions of embodiment by Merleau-Ponty, Nietzsche’s theory of Eternal Return, and existentialist thought my practice explores connections between play with surface, the body, and the constitution of the Asian female Self as a way of addressing concerns regarding the construction of South Asian female subjectivity. For Merleau-Ponty, the physical body is the ‘ground for all perception’ as knowledge is continuously constituted and reconstituted through bodily experience. This process of constitution, which is eternal and inherently unpredictable, according to Nietzsche, is not autonomous or driven by essential forces, but rather a product of historical motion and social dynamics that are constitutive of and constituted by the Subject. Nietzsche conceived the psyche-Self as a layered, multidimensional construct that is sculpted by early life experiences, traits and dispositions inherited by our ancestors, and ‘traditions and experiments of past cultures that continue to live in us”. It continuously influences our experience, perceptions, and behaviors, that in turn continue to shape it. As such Being does not precede Becoming, as we are both always already constituted and being constituted. To exist then is not to rely on universal truths or essential attributes, but instead is to exercise this psyche-Self through decisive action that is informed by this process and also disrupts it. I play with surface using color, textured marks, images, and the abstraction of the figure as a way of re-enacting this process of subject-constitution and embodiment. Mark-making serves as a subversive act of existence and the layering allows for multiple temporalities to take hold, making way for new forms of subjectivity. https://amberarifeen.com/2019 daily 0.75 2023-03-17 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651785954-LEV4LOXB7SXEWZJFOV03/Natashae.jpg 2019 - Woman and Salt / Aurat aur Namak Artist Statement This series of work is inspired by the poem ‘Aurat aur Namak’ (Woman and Salt) by Sara Shagufta – ‘the poet from Pakistan, whose words were too naked for her family to take pride in, and whose personal life too colourful and radical for critics to focus on her poetic genius. For the last 50 years, perennial attempts have been made by the Urdu literati of Pakistan to systematically erase Sara Shagufta from the intellectual-feminist history of South Asia’*. Sara committed suicide at the age of 29 in 1984. Woman and Salt Respectability has many forms. Veil, a slap, wheat The nails of imprisonment have been hammered into the coffin of respectability The house or the sidewalk does not belong to us We are stamped by the spear of respectability The lack of respectability starts with our words If someone tastes our salt at night Then throughout life we are shunned as unworthy bread اورت اور نامک عزت کی بھوت سی کسمیں ہیں گھونگٹ، تھپڑ، گندم عزت کے تابوت ہیں کد کی میخیں نکی گئی ہیں گھر سے لے کر فوت پاتھ ہمارا نہی عزت ہمارے گزارے کی بات نہی عزت کے نیزے سے ہمیں دکھا جاتا ہے عزت کی کنی ہماری زبان سے شروع ہوتی ہے کوئی رات ہمارا نمک چکھ لے تو ایک زندگی ہمیں بے زائکہ روٹی کہا جاتا ہے https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1679044814486-SV5NFTDHTTCO6ZYVGN58/image.jpg 2019 - The Nautch, Audio-Visual Installation Day Performance, streets of London, England In The Nautch, I drew from my personal experience of London and specifically of the the art industry in the city, and a piece of history that I came across while researching the British archives - an Exhibition at The Liberty in 1885, in which an entire village was brought to London to be put on display to bring in more British Shoppers - including a troupe of Nautch dancers. Through performance, I connected the past to present simply by engaging with the physical and bodily experience of losing voice consciousness, that Gayatri Spivak refers to in her essay ‘Can the Subaltern Speak’. Inspired by Rimbaud Series by David Wojnarowicz, I photographed myself in different locations dressed as a Nautch as a way of reenacting the experience of ‘othering’ and protesting it. Corresponding Essay and script by the Artist Last year, when I was in London completing my master’s in art, I was told by my peers and teachers that I must go to art galleries to look at art and mingle with people, be inspired, and become a part of the art community – that was the best thing I could do to jumpstart my career. So, over the course of the year, I went to all the openings I could possibly go to and saw art at most national galleries and museums. However, by the end of it, instead of feeling inspired I was left feeling disenchanted, discouraged, and alone. I couldn’t put my finger on the Why, but it became clear to me and my body that openings in Mayfair were only meant for a certain kind of people, belonging to a certain class. I always felt the atmosphere intimidating, for I would seldom see people of color around, even if the artist being shown was of color. It made sense, since the people who could afford to buy the art or talk about the art (by way of access to good education, particularly in the arts) were people who came from privilege- and so white. It became hard to hold a conversation with someone at one of these events without being aware of my accent, South Asian-ness, and otherness – which ironically seemed to be the only thing that made me interesting as an artist or not interesting at all – as I wasn’t trained in miniature. Swinging between too brown or not brown enough, at times I would doubt myself and think I’m being overly critical or imagining things, that the insecurities arising from the post-colonial baggage I’m carrying are somehow my responsibility. But then my body was saying something else – it was saying “this doesn’t feel right” And the body is always right, since it responds from the most authentic place. I felt the same when simply looking at art. Everywhere I went, somehow art by people of color was always shown in the context of their identity. The discourse, when it comes to artists of color, tends to contextualize their practice in relation to their race, ethnicity or background, without looking at what they’re trying to do within the work and then bringing them into the canon - which has the effect of placing them outside of it. So, it was always easy to see a show with all black artists or go to a gallery that especially shows South Asian artists, but I could hardly find any shows that exhibited these artists within the canon, along with everyone else, stripped off of this otherness. It gave the impression that it is the only thing that defines them. Maybe I missed some of the shows that did try to change this, but by and large, they were in the minority because this was my experience over a span of a year. Much of this made sense when I realized that my professors knew little about South Asian artists, and the only time I came across them in academic writing was when I searched for them myself – despite the fact that the very same college had produced internationally renowned South Asian artists such as Naiza Khan. I especially felt the pain of this when I walked across the halls in the National Portrait Gallery. I realized that so much of my history is tied to the people that are hanging on those walls, as a way of celebrating people who are in many ways responsible for this weight that I am feeling, and yet it was hard to find portraits of people from South Asia that I could relate to or look up to, as if our side of history, which is also their history, never existed - except for when one wants to see the Kohi-noor at The Tower of London or find an “exclusive” exhibition on “glorious Mughal history”. When I began to really think about this, I realized that I had had the same bodily experience in other public spaces across London – like in the underground or outside regent street - and it reminded me of The Rimbaud Series by David Wojnarowicz. In the Rimbaud Series, David took photographs of himself and his friends who identified as queer, wearing the poet Arthur Rimbaud’s mask, in different locations across Manhattan, places that had triggered feelings of alienation. By taking on Rimbaud’s face, who lived in the 18th century, David was essentially taking on his identity and highlighting the parallels in their lives: the violence suffered in their youths, the feeling of being denied freedom, the desire to live far away from the bourgeois environment and the fact of their homosexuality. He was juxtaposing the historical time of the symbolist poet with his present. The work gives the impression of being lonely, lost, and displaced; experiences that Wojnarowicz aimed to highlight in the context of what was happening to the LGBT community at the time. The performative aspect of the work was very appealing to me. The way in which he put on the mask and went to these places to get photographed, in front of an audience, was a dramatic staging of the experience of how queer men had to put on a façade or act to fit into these spaces. In a way he was reenacting the lived experience of being marginalized and displaced as a queer person. The physical act of putting on the mask immediately separated him from those around him. It allowed engagement with an audience in these spaces without directly speaking to them, as the onlookers watched when he wore the mask and got photographed. While this performative reenactment of lived experience was an attempt at highlighting the emotional and physical aspects of that experience, it was also an attempt to subvert and protest that experience. Inspired by this series I decided to do my own performance, using the same framework but applying it differently to reflect the core ideas underpinning my work on the construction of South Asian female subjectivity. When I started my research to put together this performance, I began to look at some of these spaces, including The Liberty, in a deeper way and found new insights that shed light on darker truths, which then inspired the work itself. The Liberty is one of the most expensive and exclusive department stores in London, primarily dealing in fabrics and designer wear, and has been around for over 200 years. In 1885, an exhibition was held at the Liberty in which 60 villagers from India, including a number of Nautch dancers, were brought to London and put on display, as if to transport an entire village intact, in order to bring in more British customers to shop. Coming across this news article in the archives and then visiting the Liberty as it stands today ignited the same feeling of discomfort that took over me when I had to present myself at Mayfair galleries and other spaces in and around London. It was then easy to imagine myself standing in front of The Liberty, in the same kind of clothes that the Nautch wore, as a sort of mask that I could identify with, and then stage a dramatic reenactment of the Nautch on display all those years ago. Like David in the Rimbaud Series – and with the help of my dear friend Amelia Qasir, I photographed myself in all the places I felt alienated in some way or the other, wearing my Angrakha, Churri Dar pajama, Khussa’s and jewelry – the things that make me “traditional”, “exotic”, “beautiful”, “colorful”, of color, other, and the things that immediately separated me from the audience. Interestingly, the very hypothesis I was testing was proven true when we managed to catch turned heads and questionable looks in the camera. Just to test this further I also performed in Whitechapel – a place that often transports me to liberty market in my hometown Lahore. Here no one looked or cared, and I easily blended in with the crowd. What we weren’t able to capture sadly, were the cops who started yelling at me for taking photographs on the footpath in front of the Ritz – and wouldn’t stop yelling till Amelia stepped in - in her everyday wear, or the admin lady from the Royal Academy of the Arts who asked us not to do a “photoshoot” and leave, and the guy who turned around and told me I looked beautiful in my “saari”! https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1679045045143-52XQ3508IWU4KMUCDF6O/image-asset.jpeg 2019 - De Voilez - 1 Hour 0 minutes Performed at Cite’ De Arts International, Paris, France Corresponding Essay In 1957 during the Algerian war of Independence, special ceremonies were staged across Algeria, in which wives of French colonial officers unveiled Algerian women in public to demonstrate how Muslim women had been won over to European values and away from the independence struggle. The unveilings were publicised and presented to the government in Paris as spontaneous acts. This poster shown in the first image was part of the propaganda. Historians would later find that some of the women who participated in these ceremonies never even wore the veil before. Others were pressured by the army to participate. Following the staged unveilings, many Algerian women began wearing the veil. They wanted to make clear that they would define the terms of their emancipation – rather than being forcefully liberated by the French colonisers. When the war of independence was won in 1963 many of these women returned to not wearing the veil. I am reminded of this history when thinking about the recent debates about Hijab, Niqab, or Burkha across Europe. Somehow in times of crisis, the female body conveniently becomes the battleground for ideological and political warfare. My practice is centred on understanding and contextualizing the female experience as a way of recalibrating the way non-western women are seen and represented. We have not had the opportunity to create our own subjectivity. At home we are seen through the eyes of men (as caregivers, weak, subservient) and abroad we are seen through a lens of oriental femininity (oppressed, exotic, beautiful). Over time we have internalized these forms of representation so that it’s hard to know the difference. I use stories of female experiences and spaces as a way of reframing the colonial gaze and subverting the male gaze. For my performance act at Cite’ De Arts Internationale I wanted to use this opportunity to showcase an experience of a woman who chooses to take Hijab in a space that makes her feel uncomfortable and oppressed. Surrounded by propaganda posters from 1957 that read N’etes – vous done pas jolie? De’voilez-vous! (aren’t you pretty? Reveal yourself!), I am on my hands and knees writing “De-voilez (unveil)” in repetition as way of forcing myself to comply, similar to a child who has been punished at school. After an hour of writing and being in this uncomfortable position, my knees and hands gave away, which becomes apparent in my hand writing. This act is an analogy for the way women are made to feel in a world that constantly uses their bodies for different agendas without acknowledging their experience of it. Whether or not the ban of the Niqab across Europe is right or wrong, the fact remains that the debate surrounding it has created an uncomfortable space for all women to exist (including women who choose not to cover at all). It has fuelled an environment that’s left South Asian and Middle eastern women feeling alienated and perpetuates the post-colonial lens through which we are seen. There is no political and/or religious statement being made here. On the contrary the idea is to remove those associations from the female experience. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550767691475-YWGMXO8VXWRGJQMHZGCO/The+Flight+Attendant.jpg 2019 - The Flight Attendant Acrylic, Oils, Charcoal and Image Transfers 96 cm x 143 cm https://amberarifeen.com/2023 daily 1.0 2024-01-04 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1693906811349-1JJWPEYASMZ7D0A8NT2K/Painting+2.jpg 2023 - What are you looking at? 66 inch x 48 inch Acrylic , Transfers, and Oils on Canvas Amber Arifeen's art practice is deeply rooted in the formal exploration of environmental spaces. Her earlier works, which focused on interior spaces and architectural facades, are now transitioning towards landscapes and symbolism. The surge of recollections has led the artist to forge emotive connections, moving from externalised realisations to introspective reflections on the experience of womanhood. Building on her solo traveller past, she galvanizes the confrontational nature of female autonomy against societal pressures to restrict women. The visual commentary is performative, using her body as a symbolic intervention, accompanied by news clippings on violence against females. The artist enters the painting scene, remaining in the foreground, declaring her feminist manifesto as a portrait of resilience and female endurance. Arifeen's artistic approach extends beyond conventional boundaries, incorporating vivid and imaginative colours into a unique, deeply personal palette. In her earlier uninhabited landscape paintings, one could sense the world through the artist's eyes. A transformative shift is evident in her recent work, inviting viewers to witness her presence within vibrant realms. The rich and evocative colours create a distinctive and intimate lens, mirroring the artist's singular perspective. No longer a distant observer, Arifeen beckons the audience to enter her world, not just to observe but to become companions, echoing the immersive nature of the Tarot. In this evolution, Arifeen becomes a guide, encouraging viewers to fully immerse themselves in the environment she has crafted. The use of her body as a performative element takes on new significance. Coupled with symbolic interventions like news clippings portraying violence against women, her art becomes a profound commentary aligning with the Tarot's capacity to weave narrative, life philosophy, and environmental context. It transcends visual representation, delving into a realm where art is a powerful exploration of life's circumstances, emotions, and the philosophical journey undertaken by both artist and viewer. In Arifeen's works, the female form emerges as a powerful presence, transcending traditional portrayals. Her interaction with nature becomes a profound experience, akin to witnessing the world at its moment of creation. In this realm, serenity prevails, untouched by the harsh realities of violence and societal structures. The female figure symbolises unbridled freedom, shedding societal identifiers, even clothing, to embrace her true self amidst a wild and untamed landscape. Arifeen's artistic exploration manifests through dynamic poses, each a testament to the uninhibited joy of life. From reaching out to pluck fruit from trees to resting by the riverbank, dipping her feet into the water, and exploring forests alone at night, these scenes narrate fearless exploration and a rejection of societal conventions. Inhabiting the space becomes a testimony to the desire for a life beyond ideological constraints, a dreamlike world free from societal norms. The female form becomes a manifestation of the Earth's vitality and an active participant in the interconnected rhythms of nature. While the world she creates is dreamy and vast, the colours chosen carry an ominous undertone. A palpable sense of danger and calamity pervades the environment, yet the depicted body remains calm and resilient. Landscapes are delineated with heavy forms of colour, separated by bold strokes, creating a visual dichotomy. The artist's touch, evident in the detailing of fruits, mossy green pastures, and the soothing bends of the river over stones, forms pockets of serenity amid the turbulent backdrop. The Earth, in the Gaia philosophy, is seen as capable of self-regulation and healing in response to disturbances. Similarly, the depicted female figure in the midst of vibrant yet ominous landscapes may symbolise the enduring and transformative nature of the feminine spirit. The scale of these muralistic paintings is larger than life, and the depicted body serves as a gateway between conscious and unconscious realms. It becomes a bridge, inviting viewers to enter the landscapes crafted by the artist—a refuge away from the grief and strife induced by the hostile environment the female experience often entails in our society. Through these evocative paintings, Arifeen constructs a realm that offers solace and liberation, challenging societal norms and providing a canvas for the untamed spirit of the feminine to thrive. https://amberarifeen.com/home daily 0.75 2022-12-02 https://amberarifeen.com/artist-cv daily 0.75 2023-11-22 https://amberarifeen.com/new-page-1 daily 0.75 2019-02-21 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1550768440758-RI4LRZB3NRTB66OZY11B/The+Flight+Attendant.jpg Artist Statement The Flight Attendant Acrylic, Oils, Charcoal and Image Transfer 142 cm x 94 cm https://amberarifeen.com/artist-statement daily 0.75 2022-12-02 https://amberarifeen.com/performance daily 0.75 2022-12-03 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595342468869-9L13ZWC3E40LWXHZT5RM/amber1.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595342474803-N2F3AJL6USFCSQ06VLA3/amber2.JPG Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595342483509-S62YQ1U5JWF6OZ3OA5R2/amber3.JPG Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341308394-7RC7YAOF5KT4IWIEVY8C/British+Library.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341108041-3M58PTCHKKVAIJJMJAZM/The+Ritz.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341186982-T5PDJNTXU4JW49IVW1EN/Hauser+and+Wirth.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341234166-GIFP85XGULR4ZWJLYHCP/Louis+Vuitton.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341223780-DG11AMCCUNC0YM5U409Q/The+Underground.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341721757-SZRF570BBUFJ32ZW5F9X/DSCF2814.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341454246-XQ1IARBBLLB7GSEGM2ZL/WhiteChapel.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341711270-IE3128EJJ7G19EWRT1A9/DSCF2790.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595342916234-I6F2D7WJ3CYSIONPAS4S/DSCF2722.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1595341309209-1PWTPT7V8TG94XP5PV9Z/National+Potrait+Gallery.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1670057545874-A8MZGSC9ZWAFBKI0U1ED/Arifeen_worksample1.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1670057546112-BXLQ1MSU9R1W7CE1373U/Arifeen_worksample2.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1670057550203-IUG1TLPRCY5D9MJU3THS/Arifeen_worksample3.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1670057550859-BXUBI54RFHTNAXMSKK8Q/Arifeen_worksample4.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1560694716311-5FE7ZHO0VRV2M3M6XRA7/De%27Voilez Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1560694580703-DPJ0T1ZDUMA11MRBNXM9/COUP+D%27UN+SOIR+_-92.jpg Performance https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1560694584925-NEYXL1RB76MIHMKVM5XX/posterwritten.jpg Performance https://amberarifeen.com/woman-and-salt daily 0.75 2022-12-02 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651785954-LEV4LOXB7SXEWZJFOV03/Natashae.jpg Woman and Salt - Natashae Mixed Media on Canvas 112 cm x 158 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651788064-6AXBBWKYFIZBBU3PLWP3/Self+Portrait.jpg Woman and Salt - Self Portrait Mixed Media on Canvas 112 cm x 158 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651793412-CUS2MQLVSVDCJPMX7NQC/Samya.jpg Woman and Salt - Samya Mixed Media on Canvas 112 cm x 158 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651794839-7ONTLOK6FG04OGTLUMFI/Sarah.jpg Woman and Salt - Sarah Mixed Media on Canvas 112 cm x 158 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651796965-SYA0S7UIDI3G8IF9O2SB/Sarah+2.jpg Woman and Salt - Sarah 2 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651798735-0I3LLOX585QJHUSXXOVN/Sidrah.jpg Woman and Salt - Sidrah Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651798716-6EF56X304C9V85AWEYOB/Natashae+2.jpg Woman and Salt - Natashae 2 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651804570-XYBJSBNXZ88V8PAZCUBL/Sidrah+2.jpg Woman and Salt - Sidrah 2 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651803862-LXPOPY9CGDFB20ZU5N02/Isra.jpg Woman and Salt - Isra Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651809456-5ZOOMWU5N05Y1EXK6M7T/natashae+3.jpg Woman and Salt - Natashae 3 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651809274-98QEFZZKM5AJIUVNSS07/Sarah+3.jpg Woman and Salt - Sarah 3 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651813576-CRQJQPPHXT05ERYFVEK7/Zahshanne.jpg Woman and Salt - Zahshanne Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651811785-NGVRB5IDSJ0YMG9LRPYS/Sidrah+3.jpg Woman and Salt - Sidrah 3 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651813672-Z2UT8N44BDGOF1XCF9D8/Zahshanne+2.jpg Woman and Salt - Zashanne 2 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651817981-K82KW04M5MSAQQSAKPYP/Samya+2.jpg Woman and Salt - Samya 2 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1568651816344-JJ7M3FMT52N5RS62XEBV/Israh+2.jpg Woman and Salt - Isra 2 Mixed Media on Canvas 32 cm x 48 cm https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1544441959183-3MMQ68YOW4LU10CUFHS5/untitled+1%2C++142+x182+cm.jpg Woman and Salt https://amberarifeen.com/being-and-becoming daily 0.75 2022-12-02 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247167662-MGEGX2UI5KX8A2Z1CY1J/DSCF3156.jpg Being and Becoming - Seated Woman I 24.3 Inch x 18 .5 Inch Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247159734-M978U7NYPS2VQGFPVJY9/DSCF3164.jpg Being and Becoming - Reading 23 Inch x 17 Inch Acrylic, Collage, and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247221898-W49K0KV9D2E0IZWXU7C4/DSCF3161.jpg Being and Becoming - Reading II 24.5 Inch x 18.5 Inch Acrylic, Collage, and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247253799-ZQL7ZPK1L39VSNDY5I0Y/DSCF3159.jpg Being and Becoming - Untitled 3 Mixed Media on Paper 28.5 Inch x 20.8 Inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247288476-HURHHOI1FU7UP5MS7FS6/DSCF3157.jpg Being and Becoming - A Headscarf Can 26 Inch x 20.5 Inch, Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247310219-JJQLW3S5NN17Z8QKNU4U/DSCF3155.jpg Being and Becoming - Unencumbered 28.5 inch x 20.5 inch Acrylic, Collage, and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247408409-DPTGT5VSXJ73CG5RBPJD/DSCF3178.jpg Being and Becoming - Looking Back 28.5 cm x 20.5 cm Acrylic, Oils, Collage, and Transfers on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1588247422393-FJ95TM9IMGKF7C50JX9U/DSCF3197.jpg Being and Becoming - She 28.5 cm x 20.5 cm Acrylic, Collage, and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1591801286514-S9WO9X2HBS36DVDCR3FH/Untitled+1%2C+28.5+x+20.5+inch%2C+Acrylic%2C+Oils%2C+Transfers+and+collage+on+paper.jpg Being and Becoming - She Waits 28.5 Inch x 20.5 Inch Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1591801255057-GTSZZ7F1NQ1UKUSFDT3D/DSCF3230.jpg Being and Becoming - Expecting 28.5 Inch x 20.5 Inch Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1591801276669-E3478XUVVIB5BUXD280A/Untitled+10%2C++28.5+x+20.5+inch%2C+Acrylic%2Cm+Oils%2C+Transfers+and+collage+on+paper.jpg.jpg Being and Becoming - She Buys Her Own Diamonds 28.5 Inch x 20.5 Inch Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1591801346610-EVIW1PCV8OLVSPHYM27G/Untitled+5%2C+28.5+x+20.5+inch%2C+Acrylics%2C+Charcoal%2C+Transfers+and+collage+on+paper.jpg Being and Becoming - She II 28.5 Inch x 20.5 Inch Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1591801308397-0T27BE9LL4AYYYDKQQXV/Untitled+3%2C+28.5+x+20.5+inch%2C+Acrylics%2C+Charcoal%2C+Transfers+and+collage+on+paper.jpg Being and Becoming - Seated Woman II 28.5 Inch x 20.5 Inch Acrylics, Oils, Image Transfers and Collage on Paper. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020138781-6IG0586ISQ5E3V0EWILK/catching+up.jpg Being and Becoming - Catching Up 33 Inch x 46 Inch Acrylic, Oils, Collage, and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020164944-J4QLWYYAIOFG4IB4688V/Dholki+II.jpg Being and Becoming - Dholki 20.5 inch 28. 5 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020216022-LLYAIMKLMZPUY72E3LJC/friends.jpg Being and Becoming - Dosti 20 inch x 32 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020313855-VU1S5TAIFW7LSX1UEGT5/DSCF3171.jpg Being and Becoming - Khamoshi Ka Alam 28 Inch x 40 Inch Acrylics, Oils, Collage and Transfers on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020330860-J24DEVC7SW3JVSMXP4UW/Pagli.jpg Being and Becoming - Pagli 28 Inch x 40 Inch Acrylics, Oils, Collage and Transfers on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020568377-MF2E24FZL9M6D9LI9VHF/Dholki.jpg Being and Becoming - Dholki II 28 Inch x 40 Inch Acrylics, Oils, Collage and Transfers on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020446463-DIX0JCEI8HK19GZR7LNZ/double2.jpg Being and Becoming - The Split I 22 inch x 32.5 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020480414-M6HVUAKO075QJUVWE962/double1.jpg Being and Becoming - The Split II 22 inch x 32.5 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610020283035-A3XV7UMW0GYTT5X6P1V3/three+girls+II.jpg Being and Becoming - Three Girls 33 inch x 45 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610021215077-LUX6TFELXU21DKRAQIIR/pardaadi.jpg Being and Becoming - Kadam 20 inch x 32 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610022171422-W4Z14VMRW14AMNX8QR5V/Nacho.jpg Being and Becoming - Nacho 31 inch x 42 inch Acrylics, Oils, Collage and Transfers on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1610022184869-ACM8I9RVZ8KXCWO2S1JM/Restless.jpg Being and Becoming - Restless 28.5 Inch x 20.5 Inch Acrylic, Oils, Collage, and Transfers on Paper https://amberarifeen.com/nature-of-an-afterthought-a-posteriori daily 0.75 2021-12-21 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/31a413e6-4e5c-40ab-ab2f-777fdd467450/Summer+heat.jpg Nature of an Afterthought: A Posteriori Summer Heat Mixed Media on Canvas 48 inch x 48 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/5e826fe7-2a25-4096-aa99-4ff888641504/French+beach.jpg Nature of an Afterthought: A Posteriori French Beach Mixed Media on Canvas 48 inch x 68 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/3ede98eb-3123-4998-ad7e-3638771254d3/Lalazar+1.jpg Nature of an Afterthought: A Posteriori Lalazar 1 Mixed Media on Canvas 48 inch x 68 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/5be7d326-4c3d-4f40-9890-1d07f79c65bf/Enroute+K2.jpg Nature of an Afterthought: A Posteriori - Make it stand out Enroute K2 Mixed Media on Canvas 44 inch x 54 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/0b684fd6-a661-4ef0-8ea9-349b1f7645c5/Good+Times+tryptich.png Nature of an Afterthought: A Posteriori - Make it stand out Good Times Triptych Mixed Media on Canvas 48 inch x 114 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/cea12aec-9162-4849-bd0d-d9594d907ddc/A+room+full+of+people.jpg Nature of an Afterthought: A Posteriori A Room Full of People Mixed Media on Canvas 48 inch x 78 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/7d8fc7f8-03af-4b57-9983-f1647a4fdc24/Views+from+Jason+1.jpg Nature of an Afterthought: A Posteriori View from Jason 1 Mixed Media on Canvas 44 inch x 54 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/2930226c-62bb-4d68-9aed-f68aad478f58/Lalazar+3.jpg Nature of an Afterthought: A Posteriori Lalazar 3 Mixed Media on Canvas 44 inch x 54 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/bf6c46e8-c152-49ad-b8e2-e301746cab14/Lalazar+2.jpg Nature of an Afterthought: A Posteriori - Make it stand out Lalazar 2 Mixed Media on Canvas 60 inch x 48 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/37c8b190-6aba-4ef0-98ce-cb0048ef8564/Views+from+Jason+2.jpg Nature of an Afterthought: A Posteriori View from Jason 2 Mixed Media on Canvas 44 inch x 33 inch https://amberarifeen.com/sculpture daily 0.75 2023-03-17 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/d712f7f9-e3b2-4c20-8301-3e34cad98d30/_DSF8207.jpg Sculpture - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/a3f2d07c-afef-4f49-941f-f3b7de0f34d1/_DSF8167.jpg Sculpture https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/4c2d25dc-462d-4359-a5e0-441f0fb8b769/_DSF8155.jpg Sculpture - Make it stand out Displayed at Sculpture/Sculptor, a group exhibition at COMO Museum, Lahore Pakistan. 2022 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/9ebf48a0-5a34-460e-baf9-e0b67f57013b/Scultpure+2+back.jpg Sculpture https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/eebc9473-8a89-4d8c-b630-762768a1bb2c/_DSF8186.jpg Sculpture https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/f8734f92-9865-4ece-9141-eeeabc810725/Sculpture+4+%282%29.jpg Sculpture https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/d5f872d9-0d0f-40cd-9040-be30dfa3e35d/Scultpure+6.jpg Sculpture https://amberarifeen.com/i-am-in-the-colours daily 0.75 2022-12-03 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/d0da613b-552d-438b-ac5e-8131610a74f1/Panorama.jpg I am in the Colours Wild Strawberry I and II Mixed Media on Paper 32 inch x 132 inch https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982276896-ZOINMK06H811QNISKOSY/Jazzberry+Jam.jpg I am in the Colours - Jazzberry Jam, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982218472-ISU47HT1RKQN9E3DCUXL/Enroute+Khunjerab.jpg I am in the Colours - Sunglow, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982338320-CD1U24QKK2HJ4Z6OIYKH/Mountain+Meadow.jpg I am in the Colours - Mountain Meadow, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982192335-L2RGSEZI0WQM19CAFF29/Dandelion.jpg I am in the Colours - Dandelion, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982484810-R4ITRBOUG6RYT74JXZ8Z/Outer+space.jpg I am in the Colours - Outer Space, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982250275-RNF08O61SEQU84DAYCWA/Hunza+Valley.jpg I am in the Colours - Hunza Valley, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982490012-BKDK1WDWIQGEVYWTZ5MW/Periwinkle.jpg I am in the Colours - Periwinkle, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982396043-DYACSPGWF8G2IWXFSCC7/Mulberry.jpg I am in the Colours - Mulberry, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982254092-B3T1Y77UXQ5B307OPZKO/Granny+Smith+Apple.jpg I am in the Colours - Granny Smith Apple, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982462519-BRRDCAID3JQWL6QXEUXD/Orchid.jpg I am in the Colours - Orchid, 2022 23.5 x 31.5 inch Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982635221-JZ2EIAX9X21M9VJQC89S/Robin%27s+egg+blue.jpg I am in the Colours - Robin's Eggs Blue, 2022 23.5 x 31.5 inch Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982804407-E023SIJB7K7PE9SW0LZA/Wild+Blue+Yonder.jpg I am in the Colours - Wild Blue Yonder, 2022 23.5 x 31.5 inch Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982715003-AIQS47AXMUYDF8PXWHIO/Thistle.jpg I am in the Colours - Thistle, 2022 32 x 44 inches Mixed Media on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982691437-CTR0VWAO731J22MXNBBB/Sunset+Orange.jpg I am in the Colours - Sunset Orange, 2022 27 x 23 inch Mixed Media on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982189486-L2MC14P19SWXRV3MBEEH/Celestial+Blue.jpg I am in the Colours - Celestial Blue, 2022 27 x 23 inch Mixed Media on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982596301-S3B0K2H50PYEFGGN4X6W/Permanent+Geranium+Lake.jpg I am in the Colours - Permanent Geranium Lake, 2022 40 x 47 inches Mixed Media on Canvas https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982810083-IC7EA3JLQ5Z66Q611DFS/Wild+Strawberry+I.jpg I am in the Colours - Wild Strawberry I, 2022 32 x 66 inches Mixed Media on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982861808-67J6GRZT0Q8G256KQ018/Wild+Strawberry+II.jpg I am in the Colours - Wild Strawberry II, 2022 32 x 66 inches Mixed Media on Paper https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982299808-VIZQGNO9B2Q5ULN1V9TB/Mahogany.jpg I am in the Colours - Mahogany, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982334460-DARKMI7LRNPUXNUI54YM/Midnight+Blue.jpg I am in the Colours - Midnight Blue, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1669982824939-PADKG35DV2U096PX90YG/Wisteria.jpg I am in the Colours - Wisteria, 2022 19.5 x 23.5 inches Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1670056467698-P9WGOOX30QOSBUQCCO4E/Indigo.jpg I am in the Colours - Indigo 23.5 x 31.5 inch Mixed Media on Wood Panel https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1670056521307-1KYSD9FFDWA783WKVCM6/Plum.jpg I am in the Colours - Plum 23.5 x 31.5 inch Mixed Media on Wood Panel https://amberarifeen.com/about-forte daily 0.75 2023-11-22 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/f152cc91-40e9-4c72-b08c-fa9c74df85aa/IMG_6102.jpg Bio https://amberarifeen.com/shop daily 0.75 2024-05-24 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902603456-CG024BGYMN2W0417VCBJ/Purple+Majesty+Mountain.jpg EDITIONS - Make it stand out Mountain Meadow (2022), 61 CM X 51 CM, Edition of 20, Series “I am in the Colours” $350 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902626954-ABWWMS86CV3GK7QCWPF2/Permanent+Geranium+Lake.jpg EDITIONS - Make it stand out Permanent Geranium Lake, 61 CM X 61 CM, Edition of 30, Series “I am in the Colours” $400 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902940195-F0SV4AX80D6934TMSNYC/Thistle.jpg EDITIONS - Make it stand out Thistle (2022), 61 CM X 81 CM, Edition of 30, Series “I am in the Colours” $400 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707901942405-Z7TWTM56CLYRABA2UTB6/Dandelion.jpg EDITIONS - Make it stand out Dandelion (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707901935444-VS5L23GEJ5G9J87C80H0/Celestial+Blue.jpg EDITIONS - Make it stand out Celestial Blue (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902060580-UZV7M5VEP39ZWJQA41ZX/Midnight+Blue.jpg EDITIONS - Make it stand out Midnight Blue (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $350 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902406221-0ZTAAYEEJGFE6MQFD9WN/Periwinkle.jpg EDITIONS - Make it stand out Periwinkle (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902699759-I80OORY6XJ1SY64AVT6L/Sunglow.jpg EDITIONS - Make it stand out Sunglow (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902061699-B9IDZV5LMLYU9I3O9CVK/Granny+Smith+Apple.jpg EDITIONS - Make it stand out Granny Apple Smith (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902681789-IDDYHYAFIM1DDZN3WZYS/Wisteria.jpg EDITIONS - Make it stand out Wisteria (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $350 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902368449-YEMVP9R5GP66B5BP59A0/Outer+space.jpg EDITIONS - Make it stand out Outerspace (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902105525-RYF8SRT1JQOHL3SSYV2H/Jazzberry+Jam.jpg EDITIONS - Make it stand out Jazzberry Jam (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902710408-HIV8YUTHIXY8PDIBLQKX/Sunset+Orange.jpg EDITIONS - Make it stand out Sunset Orange (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902006906-EYS6V8KPYHC8LBRCU53L/Hunza+Valley.jpg EDITIONS - Make it stand out Hunza Valley (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902970150-VWWAPJCSKYFGF5A3HH8U/Wild+Blue+Yonder.jpg EDITIONS - Make it stand out Wild Blue Yonder (2022), 61 CM X 81 CM, Edition of 30, Series “I am in the Colours” $350 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902650400-23R55006X9YVA2IWWT1H/Robin%27s+egg+blue.jpg EDITIONS - Make it stand out Robins Egg Blue (2022), 61 CM X 81 CM, Edition of 30, Series “I am in the Colours” $350 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902518212-JQLCFFOVLWHS48N8VHLS/Plum.jpg EDITIONS - Make it stand out Plum (2022), 61 CM X 81 CM, Edition of 30, Series “I am in the Colours” $350 https://images.squarespace-cdn.com/content/v1/5c0e3461e2ccd164882a2d2e/1707902132503-N46N6ISTQP7057X7RIII/Mahogany.jpg EDITIONS - Make it stand out Mahogany (2022), 61 CM X 51 CM, Edition of 30, Series “I am in the Colours” $250