Nashmia Haroon

The Aesthetics Of A System Default
Metal steel pipes for scaffolding, metal joints for joinery. (installation and timelapse video)
Area approx. 48 x58 feet, Height max 12 feet
Available,  Editions of 5 each (Video and Still)

The visual reference of scaffolding comes from construction sites around the city of Lahore that have become increasingly common in recent years. In history, we find that time alters all kinds of landscapes, urban or natural as a regular process of evolution; and that change is inevitable. Cities have personalities like people; we are drawn to points of reference that become familiar and hence they become a personal collective sense of belonging.
I am attempting to preserve my city’s existence today while its physical appearance is constantly changing. In my work, the final imagery is developed from photographs taken around the city at particular landmarks with slight alterations to draw out a clear metaphor. It attempts to draw a bridge between the past and the future of the physical appearance of these landmarks.
The association with scaffolding and its purpose generally means an armature, or even a temporary support to help build or fix something. In The Aesthetics Of A System Default  the scaffolding was constructed outside an existing monument of great value: the National College of Arts’ courtyard fountain. The importance of using the NCA fountain in my work is the association as an artist within this institute, this city, the location within the city and due to its geometric design and historical value.
The dichotomy of the concept lies between the process of its inception and consequent realization, and the space of its creation.
Nashmia Haroon received a BFA degree from the National College of Arts, Lahore, in 2004 followed by a MA (Hons) in Visuals Arts in 2012. She is an honorary Thesis Coordinator for the undergraduate program of the Fine Arts Department at her Alma Mater where she also teaches. Haroon owns her own photography studio in Lahore, and has exhibited nationally and internationally.

Photo Credits | Nashmia Haroon