Sculptor Amin Gulgee is an innovator of tradition. His medium is metal, his inspiration the varied and rich spiritual history of his native Pakistan. In the more than ten years that the artist has been exhibiting, his work has followed many different directions, from the purely abstract to work that is inspired from Hindu mythology, Buddhist civilization and Islamic calligraphy. Although diverse, these directions influence and nourish one another for they all attempt to depict the spirituality of man.
Well-established in Pakistan, the artist has also exhibited extensively in the USA, Europe and the Middle East. The artist's forty-odd shows include Open: Prima Esposizione di Sculture e Installazioni in Venice, where he showed alongside Cesar and ten other international sculptors, and a solo show at the IMF Gallery in Washington. Chief art critic of the Washington Times, Joanna Shaw-Eagle, wrote on January 1, 2000 in her review of his one-man show at the IMF: "Mr. Gulgee is an artist to watch both for the originality of his ideas and the sensuous, handsome quality of his work."
"I work in order to understand myself. It is a highly personal journey in which I try to discover a balance with my inner self, my culture and my God. "
Throughout his career, Amin has been intrigued by renderings of his own face and of his father and mother. These began as a series of what Amin called "inner masks," revealing not the face we show to others, but the state of the soul within. These works were rarely serene, or even whole. In the very early portraits, the visages were wrapped and bound. Later they seemed to have been eaten away as if by psychic acid. Even later, hands - an increasingly important motif in Amin's work - were introduced, and served, in one composition, to tear away at the face as it contorted into a scream of anguish.
All of these works seem to be metaphorical portraits of the artist, and his attempt to understand not only what is around him, but what is inside of him, too.
Amin's egg series is from one of his more recent bodies of work. This series was inspired by his sister's pregnancy, and the wonder he felt at watching this process of life. The artist also understood the inadequacy of his own male body and felt a frustration that he could not produce children within his own body. He worked out these conflicting emotions in this series of work. The shape of the egg serves as a symbol of female power, and its bulging, fertile shape seemed to suggest the expanding of the female body to the artist.
Amin has introduced Arabic calligraphy into some of these compositions, displaying his belief that all life is a creation of God.