Lahore, Pakistan–based Fahd Burki’s recent exhibition “New Works” marked a notable rupture in his practice: a dramatic shift toward near total abstraction. In the suite of subtle works on paper and canvas, Burki all but abandoned the playful but enigmatic imagerygraphic, at times comical, icons loosely inspired by archaic mythologies and future visionsthat characterized his earlier work. The distinct black lines and flat, opaque blocks of vivid, occasionally neon, color Burki formerly used have been replaced by quiet compositions of basic elementslines, grids, squares, circles, trianglesexecuted using soft graphite or pencil, and delicate, translucent washes of acrylic that allow the resulting forms to be carefully layered without obscuring what lies below. Abandoning recognizable subject matter altogether, these gentle geometric abstractions present precise
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