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Leighton House

Anhaar by Sara Choudhrey

We speak to the artist about her triptych artwork, commissioned for the new Learning Centre at Leighton House

Detail of Anhaar

Commissioned for the new Learning Centre at Leighton House, following the transformative Hidden Gem to National Treasure redevelopment, artist Sara Choudhrey discusses her triptych artwork, Anhaar.

 

What is the concept behind Anhaar?

Anhaar is a multi-layered artwork in all senses of the term. The title translates to Rivers from Arabic and is inspired by the use of layers of water and ink washes which were used in the work.

The concept brings together a number of themes including that of travel and migration (of people and objects), the transfer of knowledge beyond borders, the timelessness of geometry, and the celebration of the presence of geometry in nature and cosmos. For myself, science, mathematics and spirituality are all interconnected and something that can be seen through Islamic art and culture, past and present.

What inspiration did you take from Leighton House?

One of the main themes that contributed to the work included Leighton’s beautiful collection of Islamic art. I particularly considered the presence of Islamic geometric pattern in some of the sites he visited and the items he came to own and adorn in his home in London, particularly the tiles in the Arab Hall and Narcissus Hall.

The Arab and Narcissus Halls, Leighton House

Speaking with the team at Leighton House, I developed the design and composition of Anhaar using a geometric pattern which can be found within the Great Ummayyad Mosque in Damascus, Syria, which was visited by Leighton on his travels in 1873. The mosque was originally built in 715 AD, and so stands testament to an enduring and creative Islamic history.

I feel the work creates an opportunity to think about these sites and locations in a present context too. What do people know of Syria now and how much of that has been affected by recent events? I hope to one day be able to travel to Damascus too, study and take in the beautiful architecture and hope the material culture can remain resilient to external forces.

What process and materials did you use?

Anhaar is a hybrid artwork as it involves a number of techniques and methods. One of the first stages involved manually drafting the geometric pattern as digital drawings which were then laser engraved, laser cut and constructed on birch wood panels. Then, using a painting process I developed in my Driftwood series, layers of water and ink were used to create various intensities of pigmented washes, highlighted using white gouache.

I was told by one observer that the incorporation of painting on wood gave the impression of water flowing beneath the lasered geometric pattern. This gave me joy as it reminded me of the sacred words in the Qur’an (God’s revelations to the Prophet Muhammad PBUH) that speak of heavenly '…gardens beneath which rivers flow'.

The almost black laser engraved lines in the work have been applied in various depths. As a result, the pigmented wash can in some places traverse with ease and seep into further areas of the wood, mimicking the movement of water. However, in other areas it is restricted and contained. This becomes an apt analogy for geographical borders and movement or migration of people, whether free or imposed.

The linework in Anhaar shows the traditional construction process for a 10-fold star and rosette design. It demonstrates the drafting process that could be used if constructing the pattern using a compass and ruler, which leads to the presence of a number of pentagons and decagons. The three panels that make up the triptych Anhaar convey the same pattern but rendered in altering ways.

The first panel highlights the presence of a central rhomb (diamond) surrounded by a larger rhomb amongst the whole pattern. The idea is to convey the micro and macro relationship of shapes and how they can be proportionally scaled to retain their mathematical features. 

The second panel is dual layered, the lower level showing the underlying pattern construction lines and the top showing the final outcome in the form of a cutwork screen. This was a common way to use geometric patterns in historical Islamic architecture and is a feature of the mashrabiyya used within and overlooking Leighton’s Arab Hall. 

The final panel highlights the presence of triangular modular units. They are tile-able units and if cut, rotated and tessellated, would allow the pattern to continue seamlessly. Due to the ten-fold divisions, the pattern also features the golden ratio, which can be found in plant and floral structures, in human and animal anatomy, and even in our DNA.

What interests you about pattern and surface design?

Geometry is a universal language that exudes harmony and balance. Its use in art and architecture can be traced through time; yet is timeless due to it being the fabric of our world.

I also wanted to draw a connection between art worlds and historical narratives that are often presented as either side of a boundary, such as East and West. Islamic art and design has played a large role in global arts including the Victorian arts and crafts movement. That is the context in which Leighton was situated, yet now we also have a continuity that we can shed light on, making the house and Learning Centre relevant to present day audiences too.

What inspiration and legacy do you hope Anhaar will generate for future generations?

One of my main aims through my work is to exude a value for knowledge. This was a further point for conceptualising the commission, as I wanted to build on the site-specific location of being a space for learning for all ages and backgrounds. The aim in including geometric patterns for example is to convey knowledge of pattern-making, shapes, and their relationship to each other. The artwork at once becomes a learning aid, providing a documentation of process, as well as imparting the knowledge for anyone who desires to look a little closer.

I hope visitors are also inspired to understand the context behind the work, ask questions, seek answers, and consider how the work relates to society and culture beyond its immediate locality and appearance - much like the tiles of the Arab Hall.

I also hope the links with nature become a way in which to value and savour our habitat, to be custodians of the natural provisions we have been granted.

About Sara Choudhrey

Dr Sara Choudhrey is an artist, designer and researcher based in London. She specializes in Islamic art and digital design. Conducting studies referencing historical collections, archives and architecture. She raises the question of hybrid creative practice evolving in affinity with art historical narratives. She is particularly interested in demonstrating the need to continue conversations around our relationship with material spaces and their relevance to heritage and society.

Sara is currently a Lecturer within Kingston University’s School of Art. She holds a Masters in Digital Arts from UAL London, and a PhD in Digital Arts from the University of Kent.