Bin Qulander describes his art as ‘art for art’s sake’. His work is a manifestation of calligraphic intricacies infused with Sufism and mysticism presented using a rich color palette of bold reds and deep blue. “There are no ideological messages in my art. The things that are close to my heart inspire my art. Music is also a major influence. But one of my major influences is my father. He is a dervish dancer and he usually is with me on most of my art shows.” Qawwalis are a huge inspiration for him as an artist. “The songs of late Pakistani singer Nusrat Fateh Ali Khan and Gulzar really inspire me. Sometimes when I am painting, I go into a trance and whirl about like a dervish,” laughed Bin Qulander. The artist believes that the color red is his identity. He uses it both liberally and subtly in most of his works. “I guess it is because of the things that inspire me specially the Sufi mystical aspect of my art.” His passionate approach of sacred writing is embedded with spirituality and mystical elements. Al thought and emerging artist, Bin Qulander’s works are quickly receiving international recognition in the Arab world.
God in the detail 2017 at Clifton Art Gallery, Karachi
In his 6th solo show he is more conceptual in his content Binqulander has, at his fingertips, the historic and contemporary artistic expressions with which to compose on canvas multiple symbolic and lexical inspired visions that open not only our eyes wider but also our hearts, an important role of an artist. He accomplishes this; it seems, effortlessly. For example, the circle which he usually used in his work, a plate pattern of holy text symbolically rises as the dawn sun fronted by a text shaped like a tree. Taking the symbol another layer deeper in meaning, Islam, like Judaism, Christianity, Zoroastrianism, and Hinduism, is a sun religion while Buddhism and Taoism are considered moon religions. Among the mystics of the former, the color of the sun, gold, is a color symbolic of the Divine, the Unspoken; a full unblemished moon is a sign for enlightenment among the latter. The disk can be read, then, as a drawing of gnosis; the sun illuminates the Tree of Knowledge as well as being Knowledge itself. Deeper yet, the mystic untangles him/herself from the branches and roots moving behind the tree to front of the sun in order to remove the text covering the Mystery. The mystic seeks only the blazing love of the beloved.
Intuitive symphony 2015 at Ejaz Art Gallery, Lahore
Binqulander is a young member of contemporary generation of Islamic calligraphers who are in a moment of creativity. His work is aesthetic blend of traditional and modern thought. His calligraphic style fusing visual and spiritual symbolism with complex geometric and abstract decoration. His inspiration was not just old calligraphic manuscripts instead natural elements were his major source. The focus was on geometric shapes created from various forms and lines which he observes in dawn, landscapes and dhammal (Sufi dance). Sitting and observing sunsets, waves, far sighted landscapes are his favorite hobbies.
Wal-Qalam 2012 at Hamail Art Gallery, Dubai
Binqulander, a son of Sufi Sage, is among the very few eminent calligraphers of Pakistan who developed an indigenous style in a short span of time and maintained it. As associate with calligraphy that it is merely a verse written in particular style, has changed this concept. His verses are a blend of idea, concept and symbolic references. His fourth solo show was at Dubai, another branch of Hamail Art Gallery in Pakistan. One of his artistic painting was purchased for Prime Minister’s office at Emirates Tower, Dubai. Many Non-Muslims are also interested to buy his work. His new avenues are to visit Museums, Art fairs and Biennale’s to get international exposure.
Aliff 2011 at Ejaz Art Gallery, Lahore
Binqulander’s third solo show was celebrated with gigantic sizes of his painting with the size of 24 feet by 10 feet. A designer by profession and painter by temperament, his calligraphic paintings are a landmark in the genre of calligraphic art in Pakistan and it is one of the major art forms of Fine Arts. It is a popular, because of its religious importance and secular appeal. Calligraphic art is based upon Quranic Verses written in the beautiful script. It can be called a traditional genre of art. Binqulander’s rhythmic works make a clear picture of design, colour sensibility and flow of line. They are musicals on the beat of dervish. His design ability and the holy script fuse into each other and the outcome is an aesthetic pleasure for the viewer. The flow of the stork is the depiction of the visual lyrical dance of the words as he is son of Sufi. Further examples of his use of influences and symbols are the dance and music pulse of the texts influenced by Sufi dervish whirling and its and other music.
Wisdom 2010 at Artscene Gallery, Karachi
Getting great response from his first solo show he started working as an professional artist. At this time he has made his own studio and working in a private and adequate style. His passionate approach opens up for him new vistas of art and rainbow of colours. As a miniature painter he has learned to play with brush in most delicate way, this sophistication has added a note of perfection to his large size paintings as well. His paintings in colour rendering are loaded with variations but their hues are very selected and smooth. Every inch of the painting conveys messages of the painter-light backgrounds, middle tones and shadows are created purposely protecting details. Even same colour designs are monotony free and reflective of the creativity and blend of colours handled in masterly distinctive way. His paintings are feast for the eyes, purity for the soul and holy holophote. Mixed media technique is perfected by him which gives him liberty to convey and play with colours as per his wish and wisdom.
The journey 2009 at Hamail Gallery, Lahore
Having carrier as a graphic designer for ten years Binqulander enrolled in fine arts with major in miniature painting at National college of Arts in 2005. He learned calligraphy as a minor subject and attending diploma in calligraphy from Ustad Khursheed Gohar Qalam and has more interest to work as an calligraph-artist. Experimenting on different khat’s, he decided to work further on khat-e-sulas and also explores the surfaces to work on and finally started working on canvas first time. He mounted his first solo exhibition at Hamail art gallery during his graduation year where he played with the design sense using details like a miniature painting in his calligraph-art. His main focus on his first show was to play with the element of art and principle of design and to more explore his style as an artist.
