Irfan work reminds one of a Shakespearean comedy in which the bizarre and the absurd are satirical personifications of contemporary figures in power. Whereas Shakespeares critique was external to himself, looking to society for his characters, Irfan insists his work is personal, hence acknowledging himself as part of the society he mocks. With Irfan, society on the one hand pervades each individual members psyche and on the other, extends beyond political and cultural boundaries to the greater humanity.
This opaque watercolor series on paper pays homage to Melchior d’Hondecoeter’s 17th-century ornithological masterworks, synthesizing the intricate detail of Mughal portraiture with the refined elegance of Dutch Golden Age aesthetics. An impressive array of avian specimens—drawn from D’Hondecoeter’s oeuvre and direct observation of nature—intersects with portraiture inspired by the techniques of double exposure photography, resulting in a captivating visual paradox.
