Souad Khalil | Libya

In the Spanish city of Córdoba, where layers of history intertwine with the pulse of contemporary life, artist Juanjo Garlo emerges as a model of the creator who goes beyond producing works of art, transforming art itself into a means of human dialogue, preserving memory, and building bridges between cultures. Through a journey that combines painting, writing, historical research, and cultural engagement, Garlo has developed a comprehensive creative project rooted in the spirit of Andalusia while simultaneously opening itself to broad human and international horizons.

Garlo’s work is inseparable from Córdoba, a city that has served for centuries as a meeting point of civilizations and cultures. Its presence is evident throughout his paintings, writings, and cultural initiatives. Among its ancient streets, flower-filled patios, and rich historical memory, the artist found an enduring source of inspiration, transforming place into a visual and poetic language that expresses humanity, its concerns, and its dreams.

This article explores Juanjo Garlo’s artistic and cultural experience and introduces his creative project, which combines beauty with human commitment, demonstrating that art remains a powerful space for encounter, understanding, and hope.

Córdoba, located in southern Spain, has become one of the most attractive destinations for those seeking an authentic Mediterranean lifestyle—peaceful, culturally rich, and deeply connected to tradition. With its unique combination of historical heritage, sunny climate, and relaxed rhythm of life, the city increasingly attracts creative professionals, remote workers, international students, and individuals searching for a more human-centered way of living.

The city preserves an extraordinary historical legacy. Its most iconic landmark, the Mosque–Cathedral of Córdoba, reflects centuries of cultural coexistence and makes its historic center one of the most impressive sites in Europe. Walking through its narrow streets, quiet squares, and flower-filled patios offers a sense of authenticity that is difficult to find in modern metropolitan capitals. Unlike faster-paced cities such as Madrid or Barcelona, Córdoba maintains a human scale that encourages social interaction, creativity, and everyday well-being.

Another of Córdoba’s great attractions is its quality of life. The cost of living remains considerably lower than in many other European cities, particularly regarding housing, dining, and leisure. The city is safe, highly walkable, and designed to encourage enjoyment of public spaces. Outdoor cafés, traditional markets, and terraces form part of daily life for most of the year thanks to a Mediterranean climate that provides more than 300 days of sunshine annually. Although summers can be extremely hot, Córdoba’s traditional architecture—with its interior courtyards, fountains, and narrow streets—demonstrates how the city has historically adapted to its environment.

Local gastronomy also plays a central role in the experience of living in Córdoba. Traditional dishes such as salmorejo, flamenquín, and fried eggplants with honey reflect a cuisine that is simple yet deeply connected to Andalusian heritage. Likewise, the culture of tapas and life in public squares transform dining into a daily social ritual rather than merely a tourist experience.

Córdoba’s appeal extends beyond its heritage and lifestyle. The city enjoys a vibrant cultural life throughout the year. Events such as the Córdoba Patios Festival highlight the importance of tradition, beauty, and community life within the city’s identity. During spring, particularly in May, Córdoba transforms into a living canvas of flowers, music, and social gatherings that attract visitors from around the world.

The city also hosts the Night of Flamenco in June and the Guitar Festival in July. Tourist accommodations provide swimming pools adapted to the intense summer heat, while the traditional Córdoba siesta remains a cherished cultural ritual. Experiencing summer in Córdoba is, in itself, a unique and unforgettable experience.

For an international audience, Córdoba represents a new concept of contemporary luxury—not material extravagance, but time, authenticity, architectural beauty, and quality of life. Beyond tourism, the city offers the possibility of living in a historically inspiring environment without sacrificing modern comforts or connections to the rest of Europe.

The Creative Experience of Juanjo Garlo

During the Córdoba Patios Festival, artist Juanjo Garlo had the unique opportunity to relocate his painting studio to the Patio of the Birthplace of Julio Romero de Torres, a space rich in memory, art, and the authentic spirit of Córdoba. This historic site was opened to the public this year through an initiative supported by the Provincial Council of Córdoba.

Amid flowers, conversations, and the unique light that characterizes Córdoba’s patios, Garlo developed a series of paintings inspired by the life of the courtyard itself and by the energy brought by its daily visitors. Perhaps the most remarkable aspect of this experience was the creation of collaborative artworks produced together with visitors of different ages and nationalities. Each painting became a collective work filled with emotion, encounter, and shared creativity.

This project emerged from the artist’s desire to bring painting closer to the public in a living and open way, transforming the act of creation into a shared experience within one of Córdoba’s most emblematic historical spaces.

The artist expresses his gratitude to everyone who participated in this artistic experience and extends special thanks to the Provincial Council of Córdoba for making this exceptional opportunity possible during the Patios Festival.

Juanjo Garlo Writes to Córdoba    Córdoba, water, air, and fire, land of flowers, crosses, and patios,   the feeling of joy,      the beating of the heart, the blue sky reflected in the graceful flight of rooftop doves.

Córdoba, city of poets and painters, green city, how deeply I love you   Lilies, geraniums, bougainvillea, orange and lemon trees blooming with fragrant orange blossoms.

Azahara, fountain of Medina Azahara, along the great river of Andalusia your identity is reborn, where we all come to greet you, and where we bid you farewell at sunset. Tower of Calahorra, guardian of past and present, you contemplate the serene mountains of Córdoba, where the city rejoices most in May.    Wine tasting, The Battle of the Flowers, May Crosses, The Patios Festival, Balconies and Window Grilles,   The Fair of Our Lady of Health, The Pilgrimage to El Rocío…  To walk through its streets and squares, to enjoy the delight of dance and music, where the southern breeze refreshes the night, filled with charm and enchanting beauty.

If only the whole year were May, to fill our lives with joy, in the City of Cultures,   where once we were the capital of the world, and where today we build a better future together.

May blends into September with La Fuensanta, May is Córdoba and its guardian Saint Raphael,  its patrons Saint Acisclus and Saint Victoria, May is joy…   the month of Córdoba’s soul

Who Is Juanjo Garlo?

Moving between the memory of Córdoba and the vastness of Orion.

In southern Spain, where civilizations have left their marks upon stone, light, and silence, Córdoba-born artist Juanjo Garlo has developed a creative project that transcends painting to become a complete human, poetic, and spiritual experience.

Painter, writer, historian, researcher, and cultural activist, Garlo is the founder of ProyectoGarlo and Juanjo Garlo Arte. He has developed a contemporary visual language that combines historical memory, symbolism, emotional abstraction, and a constant connection with the cosmos.

Born in Córdoba in 1973, Garlo has always regarded his city as far more than a birthplace. It represents the emotional and symbolic center from which all his artistic work emerges. The Andalusian legacy, the spirituality of old streets, the energy of Córdoba’s patios, and the artistic memory of Julio Romero de Torres and his family all resonate deeply within his creations, which remain firmly rooted in Mediterranean sensibility.

His academic background in Philosophy and Letters, Geography and History, together with doctoral studies in Art History and a Master’s Degree in Cultural Management from the University of Barcelona, has provided him with a distinctive perspective in which artistic creation, heritage, and cultural thought coexist naturally.

Throughout his career, he has participated in numerous projects related to historical heritage and cultural mediation, including exhibitions such as The Umayyads of Córdoba and Ibn Khaldun. These experiences further strengthened his connection to Andalusian and Mediterranean cultural memory.

Yet Garlo does not merely reproduce the past—he transforms it. His paintings inhabit a contemporary territory where symbolism meets conceptual abstraction. In his work, color does not simply depict; it breathes. Matter does not decorate; it reveals. Each composition becomes an inner map where memory, intuition, and energy engage in di

His creative universe draws particular inspiration from the colors and celestial dimensions of Orion, a constellation that has become a central element of his artistic and spiritual imagination. Through his series Seeds of Orion, launched in 2019, Garlo explores the relationship between humanity and the cosmos through a visual language based on expressive materials, intense pigments, and spontaneous gestures, creating atmospheres suspended between earth and infinity.

This series emerged during a transformative period in his personal and artistic life. The passing of his mother, Paquita, profoundly influenced the evolution of this body of work. She herself participated in some of the creative processes related to Orion, contributing ideas for colors and forms before her death from Alzheimer’s disease.

Since then, Garlo’s work has acquired an even more intimate and spiritual dimension, becoming a space of emotional memory, healing, and inner renewal.

Far removed from fleeting artistic trends, Garlo’s work represents a conscious response to the visual saturation of contemporary society. In an era marked by speed, noise, and constant stimulation, his art advocates contemplation, silence, and emotional depth.

As the artist himself explains:

“My paintings are born between dream and insomnia, where painting, poetry, music, and inner energy converge into a single creative impulse.”

ProyectoGarlo: Cultural and Human Dimensions

Through his cultural initiative ProyectoGarlo, Juanjo Garlo develops a variety of projects dedicated to heritage preservation, cultural dissemination, and the symbolic recovery of historic spaces for public engagement.

Among the most significant of these initiatives are his efforts related to the Birthplace of Julio Romero de Torres. Garlo has contributed to reopening parts of its historic garden and courtyard to the public and revitalizing them through cultural activities. Local media have highlighted this achievement as an important step toward reconnecting heritage with the community.

He is currently the founder and president of the Association for the Birthplace and Museum of Julio Romero de Torres in Córdoba, an organization devoted to promoting awareness of cultural heritage and revitalizing it through contemporary activities and public participation.

Garlo is also an active member of the collective Artists for Córdoba: Culture and Art, which recently hosted his solo exhibition Soul of Córdoba from April 15 to May 28, 2026.

His public presence has been reinforced through numerous media appearances and cultural initiatives that have highlighted his role in promoting contemporary artistic activity within Córdoba.

His cultural commitment also extends to intercultural dialogue. At the Living Library of Al-Andalus, he presented a lecture entitled Painting and the Painters of Coexistence, in which he defended art as a space for encounter among cultures and as a means of preserving shared memory.

The Writer and Thinker

Alongside his visual art, writing occupies a significant place in Garlo’s creative journey.

Through his literary column, The Author’s Corner, he produces essays and reflections in which Córdoba appears as a living organism animated by memory, beauty, and human fragility.

He has also participated in numerous interviews discussing his creative process, his relationship with Córdoba, and his vision of art as a way of life. These contributions have established him as a distinctive cultural voice within the contemporary Andalusian cultural landscape.

Art and Humanity: The Alzheimer Experience

Juanjo Garlo’s work extends far beyond the artistic sphere.

His belief in the therapeutic and human value of art is clearly reflected in the project Art and Alzheimer Space – Córdoba, where artistic creation becomes a means of emotional support, memory recovery, and human connection for people living with Alzheimer’s disease.

The initiative has received considerable media attention as an inspiring example of how art can serve human dignity and improve quality of life.

Artistic Bridges Between Cultures

In recent years, Garlo’s work has expanded internationally through digital exhibitions and artistic collaborations linking Spain with other parts of the world.

Among the most notable of these initiatives is the project Artistic Twinning Between Tehran and Córdoba in Contemporary Art, developed in collaboration with the Iranian gallery Vision Gallerii.

At a time marked by international tensions and humanitarian challenges, this collaboration has gained special significance as a call for dialogue, understanding, and cultural exchange through art.

Both ProyectoGarlo and its partners share the conviction that art is not a luxury but a human necessity—a language capable of building bridges between peoples, cultures, and experiences

Acknowledgements

The artist extends his sincere gratitude to the media organizations of Córdoba, particularly PTV Córdoba, which has closely followed his artistic and cultural activities and contributed significantly to promoting his projects related to art, heritage, and community engagement.

He also expresses his appreciation to the Libyan journalist, actress, writer, and translator Souad Khalil for her role in introducing his projects and the work of other artists to the Arab world, thereby contributing to the strengthening of cultural dialogue and artistic exchange between different cultural environments.

Garlo further acknowledges the support of the public and cultural institutions that have facilitated his activities, especially the Provincial Council of Córdoba, the San Rafael Alzheimer Association, and numerous cultural and heritage organizations that have welcomed and supported his artistic initiatives.

Soul of Córdoba: An Exhibition that Carries the City’s Memory

Through his recent project Soul of Córdoba, Garlo seeks to explore the invisible dimension of the city—not merely its outward appearance, but its profound memory, its inner energy, and its silent spirit.

His works engage in a dialogue with Abstract Expressionism and contemporary symbolism while preserving a highly personal identity rooted in Mediterranean sensibility and a free, human-centered spirituality.

Ten Years of Painting

The artist reflects:

“I have completed ten years of painting. Ten years since I decided to listen to that inner voice that urged me to express myself through brushes, colors, and emotion.”

Over the course of this decade, Garlo discovered that painting is far more than an artistic practice. It is a language of the soul, through which he seeks to open windows of energy and beauty that invite contemplation, serenity, and inner renewal.

The celebrations of May 2026 marked one of the most meaningful moments of this journey, coinciding with his solo exhibition Soul of Córdoba, his participation in the Córdoba Patios Festival, and his unique experience of live painting during the Córdoba Fair.

Live Art at the Córdoba Fair 2026

The Córdoba Fair of 2026 witnessed a remarkable artistic event when Juanjo Garlo created two paintings live before the public during a special broadcast by PTV Córdoba.

The first painting depicted a large open fan, symbolizing the hospitality of the people of Córdoba and their warm welcome to visitors from around the world. Through vibrant colors and dynamic forms, the work celebrated the joy, vitality, and human energy that characterize the city’s annual fair.

The second painting carried a particularly touching human dimension through the participation of a young girl named Valeria, who spontaneously painted a flowerpot filled with blossoms. This image symbolized the famous patios of Córdoba and the emotional memory associated with family and home.

At the center of the composition, Garlo paid tribute to the San Rafael Alzheimer Association and the individuals who attend its day center. In this way, art became a message of tenderness, memory, coexistence, and hope, demonstrating how collective participation can transform creativity into a powerful act of human connection.

Through this initiative, the Córdoba Fair once again demonstrated the ability of culture, communication, and social participation to create authentic and emotionally meaningful experiences that bring communities together around their shared values and traditions.

Today, Juanjo Garlo continues his journey from Córdoba to the wider world, carrying an artistic and human project that bridges memory and modernity, heritage and contemporary creativity.

His paintings are far more than visual compositions; they are invitations to reflection, dialogue, and the discovery of the invisible connections that unite human beings with their surroundings, their history, and one another.

In an age often dominated by speed and fragmentation, Garlo’s work reminds us that art remains one of humanity’s most powerful languages—a space where memory, beauty, understanding, and hope can meet.

Through his commitment to creativity, cultural heritage, and human values, Juanjo Garlo continues to build bridges between past and present, between local identity and universal experience, transforming art into a living encounter with consciousness, emotion, and shared beauty.

Read: Between the Theatre and Heritage

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Souad Khalil, hailing from Benghazi Libya, is a writer, poet, and translator. She has been writing on culture, literature and other general topics.

The post Juanjo Garlo: When Art Becomes Memory and Human Dialogue first appeared on Sindh Courier.

By Abdullah Usman Morai | Sweden

In today’s fast-paced world, where psychological stress, anxiety, and mental health challenges have become increasingly common, people are constantly searching for meaningful ways to cope and heal. Among these emerging approaches is Art Therapy. It is a therapeutic practice in which art and creativity are used to address emotional, psychological, and even physical difficulties. The process may include drawing, coloring, sculpting with clay, creating collages, or engaging in other creative activities.

What is Art Therapy?

Art therapy is a professional therapeutic practice conducted under the guidance of a trained therapist. The goal is not to turn a person into a great artist; rather, it helps them express emotions, thoughts, and inner feelings that are often difficult to describe in words.

Many times, we ourselves are unaware of what emotions we are going through. Art therapy helps individuals recognize these hidden feelings and transform them into visible form. When a person becomes deeply engaged in a creative process, the mind temporarily distances itself from worries and distress. In many ways, it works like meditation.

The drawings or shapes we create often reflect our inner world. The therapist interprets these expressions and helps the individual understand their emotions and find meaningful ways to cope with their challenges.

Examples and Activities in Art Therapy

Art therapy includes a range of activities that can benefit people of all ages.

For example, filling colors into a complex design, pattern, or artwork helps calm the mind. It improves concentration and reduces stress, a simple yet powerful method that supports both children and adults.

Sometimes, participants are asked to visually express an emotional state such as happiness, anger, or anxiety. A person experiencing anger, for instance, may draw sharp or intense red lines. The therapist then discusses the artwork, exploring where the anger comes from and how it can be managed in healthier ways.

Creating Collages

In this activity, participants cut out images and words from magazines, newspapers, or old books and arrange them into a new visual composition. This helps people express their dreams, fears, concerns, or future plans in symbolic form.

For example, someone who feels uncertain about their career may select images that reflect their hopes, insecurities, or aspirations, allowing those buried thoughts to surface visually.

Clay Modeling and Sculpting

In this form of therapy, individuals create figures or shapes using clay. This process allows emotions, especially those difficult to verbalize, to take a physical form.

Handling clay physically can also reduce stress, improve sensory awareness, and strengthen coordination between the hands and brain.

Relationship-Based Art Therapy

This is a powerful and insightful approach in which family members work together on a shared artwork or create a joint canvas that reflects their relationships. The process strengthens communication, builds emotional connection, and often brings hidden issues to light gently and constructively.

Benefits of Art Therapy

Art therapy is especially helpful for people who struggle to express their emotions verbally, such as children or individuals who face communication difficulties.

Through creative expression, people better understand their inner strengths, and self-confidence gradually increases, as well as emotional clarity improves, and decision-making becomes healthier and more grounded

For individuals who have experienced trauma or distressing life events, art therapy provides a safe space to revisit and process painful memories without pressure or fear.

It allows healing to take place at a natural and compassionate pace.

Who Can Benefit from Art Therapy?

Art therapy can be useful for people of all ages, including children and adolescents facing challenges at home or school, adults dealing with stress, anxiety, depression, or emotional exhaustion, elderly individuals struggling with loneliness or memory-related difficulties, and people living with chronic illness or long-term physical pain.

In essence, art therapy is a modern and effective therapeutic approach that not only connects us with our inner world but also brings emotional peace, clarity, and a sense of joy.

By combining creativity and psychology, it offers an opportunity to rediscover the colors of life in a deeper and more meaningful way. It is not limited to people with illness; anyone who wishes to feel mentally stronger, emotionally grounded, engaged, and peaceful can benefit from it.

Art therapy reminds us that healing does not always come through words; sometimes, it emerges gently through colors, shapes, and the quiet beauty of creation.

Read: Sindhi Kachehri – Echoes of Tradition

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Abdullah Soomro, penname Abdullah Usman Morai, hailing from Moro town of Sindh, province of Pakistan, is based in Stockholm Sweden. Currently he is working as Groundwater Engineer in Stockholm Sweden. He did BE (Agriculture) from Sindh Agriculture University Tando Jam and MSc water systems technology from KTH Stockholm Sweden as well as MSc Management from Stockholm University. Beside this he also did masters in journalism and economics from Shah Abdul Latif University Khairpur Mirs, Sindh. He is author of a travelogue book named ‘Musafatoon’. His second book is in process. He writes articles from time to time. A frequent traveler, he also does podcast on YouTube with channel name: VASJE Podcast.

The post Healing Minds through Art Therapy first appeared on Sindh Courier.

Souad Khalil | Libya

Art, in all its forms, has long been a means of expressing the deepest human emotions and ideas. Poetry and painting, in particular, have played a distinctive role in conveying these sensations indirectly, where thought takes shape through words and through colors. Despite the difference in mediums, the bond between them remains strong: poetry embodies words to create mental images and emotional meanings, while painting employs colors and lines to materialize these feelings in visual compositions.

The shared language between poetry and painting lies in their ability to express emotions and sensations that cannot be confined to words or colors alone. They go beyond mere representation to interpret reality and inner feelings in ways that allow each viewer or reader to perceive them according to their own sensibility. Both attempt to capture a moment and reshape it artistically, granting the recipient freedom of contemplation and interaction with meaning.

Hence, the relationship between painting and poetry is not merely one of proximity between two arts, but rather a relationship that emanates from the human spirit and intellect. It contributes to building a bridge of understanding between words and colors, between mind and body, and between consciousness and emotion.

In this article, we seek to explore the points of similarity and intersection between the poem and the painting, the hidden language they share, and how a poem can transform into a painting, and a painting into a silent poem that speaks through color and shadow.

Salah Hassan Rashid states that the ancient East recognized communication between the arts and the world of the word. At first glance, the relationship between the visual arts and poetry may appear ambiguous to the ordinary reader, yet it is crystal clear to the cultivated reader and specialists alike. There are countless ties and close connections between the worlds of image and word, between painting and poem, between painter and poet. What unites the arts is the unbridled imagination, the visionary outlook, and the capacity for astonishment and wonder.

Many poems gained widespread recognition due to being read through a visual and aesthetic lens, clearly influenced by Cubist and Surrealist artistic movements. Likewise, numerous artworks and exhibitions have captivated audiences by drawing upon the influence of poetry and language. In the Arab world, interest in this relationship began not long ago. In the early twentieth century, the great Egyptian painter Salah Taher expressed intellectual and philosophical poems by the genius Abbas Mahmoud Al-Aqqad through visual works that astonished Al-Aqqad himself, as well as the visitors of his salon and lovers of literature, art, and culture during the 1940s.

In his book *Surrealism in the Eyes of Mirrors*, the writer and translator Amin Saleh—recently published by the General Egyptian Authority for Cultural Palaces—affirms this cultural truth, one that the West preceded us in exploring when its writers, painters, and critics discussed the extent of fusion between poetry and painting, the interpenetration of image in verse and idea in visual taste, and the mutual influence between the two. As a result of our contact with the West in the modern era, the Surrealist movement reached us with its intellectual, philosophical, and artistic tributaries, revealing the relationship between poetry and visual art, and between the beautiful word and dazzling images.

Amin Saleh notes that at the beginning of the twentieth century, young poets were influenced by oil painting, while the generation following World War I sought their direction among visual artists, moving toward a more visual form of poetry. These poets established intimate relationships with painters such as Picasso, Braque, and Derain. André Breton placed words and visual images on the same footing as tools of Surrealist exploration. Thus, painters, poets, and writers collectively contributed to probing the Surreal reality beyond appearances. The relationship between painting and poetry became profoundly close, as painting represented the most fertile field of suggestion for poetry.

Amin Saleh further explains that painting ceased to be merely a tool for representation, illustration, or decoration of literary books. When painters undertook the task of illustrating poets’ works, they did not attempt to describe poetic images, but rather created new images that expanded the meaning of verbal imagery. This is evident in Picasso’s illustrations of Max Jacob’s poems, Max Ernst’s drawings for Breton’s *The Castle of the Stars*, Tanguy’s illustrations for Péret’s  Sleep, Sleep in the Stones*, and Dalí’s images for Lautréamont. Painting, therefore, is not indebted to literary forms, but to the poetic spirit that breathes life into all artistic forms.

André Breton stated that poetry seems to have discovered in painting its widest field for exercising influence, enabling painting to reveal to consciousness the power of spiritual life. At the present time, there is no fundamental difference in artistic ambition between a poem by Paul Éluard or Péret and a painting by Max Ernst, Miró, or Tanguy. André Lhote asserted that the poem and the painting are complementary, and that Surrealist poetry and painting do not tolerate objective representation of a rational subject; rather, they expand it beyond logic.

Amin Saleh also emphasizes that Dadaism, followed by Surrealism, witnessed an exceptional collaboration between poets, painters, and musicians. Never before had poetry and visual art interacted so intensely. Poets painted, painters wrote poetry. When reviewing the names of visual artists, whether within the Surrealist movement or beyond it, we find that many practiced painting alongside poetry, such as William Blake, Hugo Ball, Tristan Tzara, El Greco—whom Élie Faure considered a painter of the metaphysical spirituality of the world—Jean Arp, Max Jacob, Francis Picabia, Mayakovsky, Paul Éluard, André Breton, Picasso, Jean Cocteau, Jacques Prévert, Marcel Duchamp, and others. Moreover, a poetic aura envelops the works of many painters, a quality praised by Éluard himself.

Regarding Baudelaire’s view of Eugène Delacroix, he described him as having elevated his art to the heights of great poetry. Éluard, who regarded painting as a constant source of inspiration for his poetic practice, discovered visual poetry in the works of René Magritte, Joan Miró, and others. He wrote numerous poems about painters or dedicated poems to them, in addition to forming deep friendships with many of them.

The Special Language of Poetry

Joan Miró once remarked that rich and dynamic material is necessary to deliver a blow to the viewer between the eyes at first glance—one that strikes before other ideas have time to intervene. In this way, poetry expressed visually speaks its own language. In *The Rope and the Mice*, André Malraux stated that the subjects of Chardin and Vermeer are not poetic in themselves, nor are the atmospheres of their paintings; rather, it is their act of painting that acquires poetry.

The painter Marc Chagall declared his pursuit of an inseparable unity between poetry and painting, while the poet-painter Adrian Huthier sought to create a shared language between them. Max Ernst also produced visual poems using fragments from old newspapers and books, engraved onto metal plates. Amin Saleh argues that the dialectical relationship between visual art and poetry is evident in poets’ adoption of new and unconventional typographic forms. Instead of horizontal, linear writing, poets turned to visual and structural printing techniques, organizing the poem on the page as a painting in space.

The aim was to shock the sense of sight, not merely the intellect, through visual arrangements of poetic elements on the page, much like a painter filling the canvas. This visual technique allows for the simultaneous presentation of elements to the reader rather than a sequential one. Words, phrases, and spaces coexist, overlap, and unite cohesively, just as shapes, masses, and color patches do in a painting. This approach is partly derived from Cubist painters’ vision of dismantling reality’s elements and reassembling them into a new system.

Eastern Writing Rich in Imagery

Mallarmé employed a typographic style in his poem *A Throw of the Dice*, marking a shift from musical values to geometric ones. Amin Saleh notes that interest in typographic techniques is ancient, as the visual and geometric aspects of writing were given great importance by scribes and poets. Some pages are filled with lines, symbols, images, or even ambiguous marks devoid of explicit meaning, or with vast white spaces. There are also poems whose words are arranged in the shape of bottles or other forms.

Eastern writing is particularly rich in visual imagery and symbolic forms. Attention to typographic art can also be observed among the Italian Futurists. This method of constructing images from words is part of an ancient tradition found among the Chinese, Greeks, and Byzantines. Amin Saleh affirms that a dominant unity characterizes Surrealist art, one not dismantled by artists’ shifts from one method to another. The Surrealist stamp was not tied to a particular mood, psychological state, or technical approach, but rather to a metaphysical proximity to reality, translatable in countless ways and capable of penetrating the deepest layers of the mind.

The Fusion of the Poetic and the Visual

The Spanish artist Joan Miró showed profound appreciation for the Surrealists’ insistence on achieving fusion between the poetic and the visual, and for their belief in the necessity of expanding the human sensory field through every possible means. This involves exploring worlds that are difficult to comprehend and have yet to be fully examined—those of the subconscious. Amin Saleh notes that in poems inspired by Picasso’s drawings, Paul Éluard paid tribute to Picasso, praising his grand vision and elevating the act of seeing itself above the visible object.

Thus, we discover that poetry and painting are separate only in form; in essence, they are complementary and speak a single language—the language of sensation, contemplation, and emotional response. Both strive to seize a fleeting human moment and transform it into a lasting imprint on the soul. While poetry weaves images through words, painting draws emotions with colors. Together, they reshape the inner and outer worlds through a language that requires no translation, only sincere feeling and refined aesthetic perception.

The encounter between poetry and visual art is not merely an aesthetic luxury, but an artistic necessity that opens doors to deeper understanding and multifaceted appreciation. It grants the recipient a unique opportunity to read the world with two eyes: the eye of the word, and the eye of color.

Read: Heritage as the National Culture

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Souad Khalil, hailing from Libya, is a writer, poet, and translator. She has been writing on culture, literature and other general topics.

The post Shared Language between Poetry and Painting first appeared on Sindh Courier.

Aden, Yemen

Omaima Abdulbasset Abdulsalam Qassem, a school girl hailing from Yemen, has received a special award from Serbia for participating in the international competition of paintings held on July 22, 2024, to encourage her in the future.

Omaima Abdulbasset Abdulsalam Qassem belongs to the Mansoura, Aden Governorate of Yemen. She was born in the Sira, Aden Governorate on June 24, 2010. She studies at Al-Qadisiyah School Al Mansoura, having passed the eighth grade. Now she is studying in the ninth grade basic education.

Previously, she participated in the Ramadan Drawing Competition in Violet International Magazine in Iraq Year 2022 and got a certificate of appreciation.

Omaima also received a certificate of appreciation for her participation in the drawing competition at the Khadija Educational Complex, Mansoura Aden on July 15, 2024 from Arts and Sciences Foundation and the Culture Office, and the Education Office Mansoura Aden, as well as her participation in the drawing Exhibition for the gifted and talented on July 20, 2024.

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Read: I won love – A Poem from Yemen

The post A School Girl from Yemen receives Special Award from Serbia for her paintings first appeared on Sindh Courier.

Karachi

Sajid Ali, an artist from Khyber Pakhtunkhaw, and his team won the prize of Rs.1.5 million for making 240ft long painting, said to be the world’s largest painting.

The artist and his team were handed over the cheque of prize money at the concluding ceremony of 3-day art workshop season- II organized by Crescent Art Gallery at Ferrier Hall on Sunday afternoon. As many as 30000 artists across the country attended the 3- day art workshop.

The other artists who were given prizes for their outstanding work include Qamar, Abdullah Siddiqui, Talib Naqvi, Fatah Halepoto, Sahar Shah Rizvi and others.

Sindh Information Minister Sharjeel Inam Memon and Local Government Minister Nasir Shah gave away cheques to the artists.

Earlier, Crescent Art Gallery CEO Nasir Javed, Curator Sidra Javed and Coordinator Miss Farah gave a detailed briefing.

Various programs were organized in this event, in which not only artists from all over Pakistan participated, but attracted foreigners who expressed keen interest in the exhibition.

The provincial ministers visited the artist gallery and inspected the art work made by the artists. (PR)

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Sindh Courier

Rajiv Khilnani, born to Sindhi parents who had migrated from Sindh to America, is an award winning artist with multiple shows to his credit. Growing up in South Asia has had a major influence on his work, shaping not only subject matter, but also his color palette. He particularly enjoys creating works restricted to 2 or 3 dominant colors; using line, shape, design, contrast, and texture as his main creative elements. For his monochromatic work he won “Award of Excellence” in the Abstract category at Triton Museum’s state wide competition.

In 2011, his work was accepted to a juried show, at Sandra Lee Gallery in San Francisco. In 2015 he won “Best Abstract” work award in the OPEN juried show organized by FALC. He had his first solo show in Los Angeles at the Beverly Hills Playhouse.

Rajiv resides in the West Hollywood area where he works on contemporary abstract paintings on canvas and paper. His works have been collected by numerous private parties.

About his passion for art, Rajiv says:

“When wearing my artist hat, I revisit my childhood, carefree and full of energy, ready to play with my toys in a loving and protected space.”

In an interview few years back, when he was asked why did he decide to pursue a creative path? Rajiv answered, “As it is said, sometimes you don’t choose your profession but the profession chooses you. My creative career pretty much fits that statement. While I was always interested in the arts, especially painting, for the longest time I never thought of making it a career. I discovered my passion for painting in High School and dedicated significant time towards it. Back home I was even represented in multiple galleries, but I never went to an art school. Instead I got my degrees in business. A MBA in Finance, can you believe that!”

“My creative journey got even more interesting when I moved to USA in 2000. Instead of working in the corporate world, I started working for Stanford University, Palo Alto. While working there, I started taking theater and on-camera acting workshops and soon discovered my love for acting. From 2003 to 2015 I did over a 150 on-camera projects, mostly commercials and short films. On the side I was still painting and doing occasional art shows. Two Thousand Thirteen is when everything in the universe told me that I should give my creative talents a serious push. I quite my 9 to 5 job, starting studying acting seriously at the Beverly Hills Playhouse, San Francisco, and after three years of rigorous training I moved to Los Angeles in 2016 to make art and acting my full time careers,” Rajiv said.

Sharing his life journey, Rajiv said, “My first passion was painting. My love affair with visual art is almost 30 years old. I started painting after High School and never looked back. While I never pursued art as a full-time career until 2016, I can easily say that I have dedicated hundreds of hours each year since 1993 toward this passion. I was fortunate to find my artistic style relatively early in my career which definitely set me apart from my peers. As a result of that I was accepted into galleries for showings at a very young age which I am very proud of.”

“I am also excited about the fact that I have sold over 300 works which are now, hopefully, brightening somebody’s house or office. When you are dedicated and passionate about something nothing feels difficult. Occasional frustration does creep in but dissipates quickly once you immerse yourself into the activity you love doing.”

“My creative process typically begins when I become inspired by a certain interesting design, shape, form or pattern. I then cover the canvas rather intuitively, inserting elements of the subject matter. I mostly work from memories but sometime view personally photographed images for reference and inspiration. This gives me a start but what the end result is going to be is a whole different, exciting and sometimes frustrating story”.

Talking about acting, Rajiv said, “As for my second love, acting, I started that in 2005. While I am blessed to have worked a lot in the commercial world in the San Francisco market the LA market has been a bit of a challenge because of tremendous depth of talent here. I am a go getter and very persistent individual. I have tried to rise up to the challenge by taking classes to hone my skills, networking with creative professionals and reading trade books. I think being a diversity actor with great sense of humor, East Indian casting, sets me apart in Hollywood. These qualities have helped me get agents and manager fairly quickly and I have already auditioned for many successful TV shows in the last three years. Even with these successes I don’t take anything for granted and have learned to keep on working hard and be humble.”

Rajiv Khilnani is known for ‘A Period Drama’ (2015), ‘Milk Money’ (2011) and Homecoming (2018). In ‘Homecoming’ he was Co-star. His other TV shows include ‘Only Children’ (Co-star); Doomsday: 10 Ways the World Will End (Co-star).

Rajiv has fifteen films to his credit, which include ‘Eleven Hundred to Lubbock’, ‘The Off Couple’,  ‘A Period Drama’, ‘Conscious Chaos’ (Lead), ‘Now What’ (Lead), ‘The Promise’ (Lead), ‘The Painter’ (Lead), ‘Calliope’, ‘A Million Miles Away’, ‘Milk Money’, ‘Cornelius’, ‘Bicycle Bride’ ‘Chee & T’, ‘Steve Jobs’ and others.

Regarding pursuing two careers – Painting and Acting, at a time, Rajiv says, “The reason I am pursuing these, relatively difficult, careers is because I have a 125% support of my immediate and extended family. Apart from my family I have some very dear friends who believe in me and my passions strongly, but also think I am insane for quitting my job. Lastly, everyone needs a handful of dedicated teachers who are invested in your success. I was blessed to find such a teacher in the visual art world and a handful of such teachers in the acting world. I could very easily name these pillars of my success here but then I am afraid I might leave out someone.”

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Source: Shoutout, LA, USA, Los Angeles Art Association, LA Original Art, Amazon, Singulart, podcasts, resumes and artspans.     

The post Meet Rajiv Khilnani, a Visual Artist & Actor first appeared on Sindh Courier.

By Yasir Qazi

Sindh recognizes some individuals for their discrete performance while honoring some academic and literary families due to multifold extraordinary services of several members of those families. Qazi Khizar Hayat, who acknowledged by Sindh as an eminent and talented visual artist, calligrapher, ceramic tile designer, civil engineer, who actively took part in Sindhi students’ struggle of 4th March during dictatorship of Gen. Ayub Khan, is also a proud member of a scholarly and literary family, who has played a significant role in serving Sindh. Last year on this day – July 16, his death had left the academic, literary and cultural circles of Sindh in mourning.

Engr Qazi Khizar Hayat was born in the illustrious literary family of Ratodero, Larkana district of Sindh, to Qazi Abdul Hayee ‘Qaail’ Sarshaari, a noted poet, educationist, journalist, social activist and artist, as his eldest son, on April 12, 1945. He was named ‘Khizar Hayat’ upon the birth, as a pray so that he would live a long life. The word “Hayat” (which means ever living) became so attached to his name that the same was added to the names of rest of his three brothers born after him, and “Hayat” became their second name. Khizar was affectionately called ‘Raanjan’ in his childhood. His mother kept calling him by that name till her last breath.

Qazi Khizar Hayat did his matriculation from Ratodero High School and Inter-Science from Larkana. He graduated from Sindh University Engineering College Jamshoro in 1968 in Civil Engineering. After which, he obtained the certificate of “MIE” (Member of Institute of Engineers). Due to his interest in art and painting, he pursued a diploma in fine arts. Later, Qazi also acquired a certificate of art in “Ka’ashi” (the traditional ceramics from Sindh) from the National College of Arts (NCA), Lahore.

Qazi Khizar Hayat started his career as a ‘Sub-Engineer’ in Sindh Irrigation Department but soon he was appointed as a lecturer in Sindh University Engineering College Jamshoro. Later he successfully passed the examination of Public Service Commission, and was appointed as a lecturer at the NED Engineering College Karachi, where he spent three years teaching construction engineering to the students. After which, PIDC (Pakistan Industrial Development Corporation) appointed him as ‘Assistant Engineer’ in its under-construction project, i.e. Larkana Sugar Mills, which was being constructed at Naodero town of Larkana, where, he supervised the construction of sugar factory, with the assistance of Chinese engineers. After which he served as ‘Engineer’ at Pakistan Steel Mills Karachi. After that he performed his professional services as a ‘Project Engineer’ in “Pak-Saudi Fertilizers’ Company” established in Mirpur Mathelo, near Sukkur for six years. Later, he served as ‘Executive Engineer’ at Mehran University of Engineering and Technology (MUET), Jamshoro’s Nawabshah Campus (College). At this stage he made Nawabshah city his permanent abode. When Mehran University Engineering College, Nawabshah was upgraded to a University in 1996, Qazi Khizar Hayat became its first ‘Project Director’, from where he retired in 2005.

During his employment, he kept getting offers from various departments and organizations to work for those due to his extraordinary professional qualifications and excellence. He also served as ‘Project Director’ of ‘Pakistan Agricultural Storage and Services Corporations Limited’ (PASCO), People’s Program District Nawabshah, Shah Abdul Latif University Khairpur and Sindh Agricultural University Tandojam for a few years, on deputation during different periods.

Even after his retirement, he continued to provide his professional services to various organizations as Civil Engineer. After retirement, he worked for three years as a ‘Project Engineer’ in a private firm Associate Consultant Engineers, under which he worked as the head of a mega project of the construction of Hazrat Bari Imam’s shrine in Islamabad. Today, the newly constructed shrine of Bari Imam in the federal capital is a testimony to the creativity of Qazi’s engineering skills and expertise. He also served as an ‘Engineering Consultant’ in the newly established “Shaheed Benazir Bhutto University” at Nawabshah, until a few years before his death.

Qazi Khizr Hayat wrote several articles on civil engineering design from 1973 to 1978, which were published in several periodicals and became popular. These were the first writings related to the field of engineering in Sindhi or Urdu at the local level, which provided significant guidance to the native engineering learners. Qazi Khizar also created poetry partially and wrote columns and stage plays. He patronized several dramatic societies in his youth, directed several theatres and acted in some of them himself. His role of “Punhu” in one of his stage plays gained great popularity in those days. He was also an orator from his student days and while holding important positions in the debating societies of his institutions at the college and university level, he received many awards, representing his educational institutions at the provincial and national levels. He was the ‘Debating Secretary’ of the Students’ Union of University of Sindh, from 1965 to 1967.

Qazi Khizar Hayat had done world-class work in the field of art, craft and ceramics. He was a born painter. He inherited the art of painting. He learnt the basic lessons of art from his father, Qazi ‘Qaail’, while going on to learn this art, he also got further guidance in this field from the famous painters of Sindh, including Zafar Kazmi and Ain Qaaf Shaikh. In teaching the art of Ka’ashi, the local ceramics of Hala, Khizar Hayat was tutored by Baradi Arbab, the famous potter of Sindh, who, breaking his family traditions, taught the art of ‘Kashigri’ (Kaashi-creation) to someone outside his own family. Khizar, apart from the traditional floral motifs and carvings on the vessels and plates made of Kaashi, introduced different genres of painting, such as portrait, landscape, still life and calligraphy etc. on this ceramic. He infused Hala’s ceramic work (Kaashi-Gari) with the colors of innovation, liberating it from its pre-classical two-color (dark and light blue) confines. Moving a step forward, using the clay and colors of Multan and Gujarat’s ceramic and by successfully experimenting with those on Hala’s Kaashi ceramic, he diversified the said local craft in every respect. Not only this, but he also experimented innovatively with the ceramics work of Japan, China and Thailand, similar to the local Kaashi, and brought over the bowls and plates from there, carved them, and used them in local kilns and got fine results, enriching the Kaashi ceramics of Sindh. It is no exaggeration to call Khizar Hayat the one, who raised the level of the Kaashi industry in Sindh and patronized it properly. He took the Kaashi ceramics of Hala and Nasrpur out of the traditional style and brought them to the next level, where it stands today.

Several solo and group exhibitions of Qazi’s artistic work were held inside and outside Pakistan. Some of his solo exhibitions at Karachi, Islamabad, Lahore, Hyderabad, and Khairpur etc. were the landmarks of his career; in which his work was appreciated and sold widely.

At the start of 1980-81, while working at Mehran Engineering University College, Nawabshah, Eng. Khizar established the ‘Sikandar Art Gallery’ at Officers’ Housing Society, Nawabshah Sindh, by combining and organizing his created works and masterpieces of Kaashi Ceramic and paintings created on other mediums of Art. He spent all his life’s artistic earnings and hard work in his art gallery. Along with common people, this art gallery has been visited and loved by countless politicians, cultural and social personalities, celebrities, painters of international and national repute, including Benazir Bhutto Shaheed. Sikandar Art Gallery has made its own distinctiveness as a vital cultural center and visiting spot of Nawabshah town, over the past several years.

Khizar’s labor of art was widely appreciated both locally and internationally. He was awarded the achievement award by the American Biographical Institute (ABI) in 1980, a gold medal by the Sindh Graduates Association (SGA) in 1984 and a gold medal by ‘Latif Adabi Academy Sindh’ in 1987. His introductory sketches were included among world-class creators and illustrators in “Who is who in the World”, published in the United States in 1988. His introduction has also been published with special importance in the second edition of “International Leaders and Achievers”, published in London UK in 1989. He was also bestowed with the “Sachal Award” in the year 2000, on the occasion of the annual Urs celebration of Hazrat Sachal Sarmast, the eminent mystic poet of Sindh, in recognition of his pictorial depiction of the poetry of the great poet.

Qazi Khizar Hayat also took an active part in student politics during his university days and while studying in the final year of engineering, he was involved in the incident of March 4, 1967, in the dark era of the ‘One Unit’. Student leaders of that time – Yousuf Laghari, Abdur Raheem Samo, Masood Noorani, Yousuf Talpar, Mujeeb Pirzada, Masood Pirzada, Ashfaq Memon, Aijaz Qureshi, Liaqat Jatoi, Manwwar Memon, Muzaffar Hussain Sheikh and Agha Zahid, had the honor of being prisoners along with Rafiq Safi, Sharif Memon, Aftab Asraan and Jam Saqi, and Khizar Hayat himself.

Qazi was also the author of two books.  One of which was compiled on the life and educational services of Dr. A. Q. Afghan, a noted educationist from Sindh and the former Principal of University of Sindh Engineering College, which was published in 2013. While his second book was his autobiography written in Sindhi, titled: “Jhagyo Mun Jahaan” (I have traversed the world), which was published in 2020, in which he recorded his artistic and professional life experiences. This book is an account of the life journey of a hardworking individual, who was born in a middle-class family and accomplished triumph with honesty and integrity and became an example for everyone associated with his life and field.

This gifted and eminent retainer of Sindhi culture, the painter of Sindh, passed away last year on this day – Friday, July 16, 2021, at the age of 76 at Nawabshah, after a brief illness, leaving behind four daughters and a son. He was laid to rest the following day July 17 in Nawabshah in a graveyard on Qazi Ahmed Road.

Due to outstanding, genuine and exceptional services rendered by Eng. Qazi Khizar Hayat, it will not be easy for the artistic and cultural scene of not only Sindh, but of Pakistan, to forget him and his labor of love.

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The author is a freelance radio and TV broadcast and print journalist, poet, prose-writer, researcher, columnist, blogger, translator, media Expert, and author of 12 books in Sindhi. He writes regularly for esteemed English, Urdu and Sindhi papers and websites. He can be reached at djyasirqazi@yahoo.com

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Six-year Eliya Hassan (Eliya Yasir) is student of class II, IBA Public School, Larkana Sindh. She expresses her love for mother through sketch and a few poetic lines from core of her heart. 

My sweet mother is my world

My sweet mother is my world.

Her name is ‘Sabiha’. She is a teacher by profession.

She takes very good care of me.

She is my best friend too. Sometimes she looks like my schoolfellow.

She always wants to make me a good human and a smart learner.

Therefore, she always wants to take me to the heights of success.

She is my perfect guide.

She always makes delicious food for me and wants me to stay healthy.

I beg God for her sound health and long life.

I pray that may we live together always.

I love my Mom.

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The post My Sweet Mother first appeared on Sindh Courier.

Egyptian academic artist Reham Mohsen presents artistic reading of the verses of the Holy Qur’an

By Ashraf Aboul-Yazid

Believers distribute the recitation of the verses of the thirty parts of the Holy Qur’an on the days of the holy month of Ramadan. It is a reading of contemplation, inspiration for revelation, seclusion of meanings and closeness to the Creator God. It is also following the example of the Sunnah of the Prophet Mohammed, may the best prayers and peace be upon him. So what does the Egyptian academic artist Reham Mohsen present in her (artistic) reading of the verses of the Holy Qur’an?

She continues her journey that began last year, when she chose to draw verses from the Holy Book, and wrote that Ramadan is the Qur’an – The holy month of Ramadan in which the first revelation of the Quran took place.

This time I chose to write Arabic calligraphy with the recitation. I chose from each part a verse for each day in Ramadan. We will always learn and draw from the Qur’an. I belief in the unseen and not explicit evidence, and the rulings are properly understood by studying the whole verses, but rather by studying what came before and after it.

God is able to make our life a paradise, but it is a test bed. How many clear answers to our questions are provided by the Qur’an but we do not read, and how many secrets treasure that was preserved in hearts through recitation and prayer long before it was written….

This year, she returns to her art work of faith through a journey of writing by drawing that gave her a title “in a Preserved book” (Fi Kitaben Maknoon), beginning on the first day with the verse 132 of Surat Al-Baqarah, she says: Every day in Ramadan, God willing… Ramadan is the beautiful… welcoming the crescent of a blessed month.

For the second year, after “Ramadan in which the Qur’an was revealed”, in 2020, she started “in a Preserved book” (Fi Kitaben Maknoon) (1442 AH) 2021, it is that book; the support and supply, the good stories and hidden treasures, in the book of Maknoon…

Watch the video: Artistic reading of Holy Qur’an 

Between the square space of the paper and a circle in its center that fills with the formation, that is, between two strict geometric shapes, she brings us to a world of soft delicacy, with the captivating Arabic lettering, and the delicacy of fresh watercolors, these are the colors that accompany us in our isolation and we – as all the sons and daughters of humanity in the year of the epidemic – suffering from our loneliness, they come with verses to take us into a magical world, whose consistency is mostly roses, as if they were alternate roses of paradise, and blissful flowers to come, after the hell of disease and plague and the anxiety of the consequences of this suffering.

Despite breaking the strict geometry in favor of art by evoking the spirit of beauty in the substance and the component, we live with the sight of each painting with parallel eloquence, in which we find counterpoint and alliteration, and we find in it a balanced color rhyme, and we encounter it with the column of poetry, as if roses sometimes have punctuation and form linguistic marks. And do not forget to reuse a background drawn from the color of papyrus, which evokes history with its originality, as if writing a document with drawing, in which is the sacred and the worldly, and in it the two alphabets of the written and drawn languages. In it, history and geography circulate in all these gardens of different plant species.

It is an invitation to contemplate, and to restore the art spirit with which we read our lives, at a time when we desperately need to read the Noble Qur’an with mind and heart, with vision and insight.

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Ashraf Aboul-Yazid is an eminent Egyptian writer, poet, novelist, journalist, analyst and Editor-in-Chief of Silk Road Literature series. He is author of around three dozen books. Many of his books have been translated in various languages of the world.

The post Artistic reading of Verses of the Holy Qur’an first appeared on Sindh Courier.

The talented kids’ trio of Jamshoro has recently created a YouTube Channel. This channel named as ‘Artisty’ is all about the art – the art of Drawings, Sketching, Coloring, Painting and Crafting

Artisty! Yes it is a Channel on YouTube recently created by three energetic, creative and promising three kids of ages between 10 to 14 years, namely Farzan Ahmed Memon (Class VII, age 13), Assad Ali (Class VIII, age 14) and Farhan Ahmed Memon (Class V, age 10). According to their skills their tasks are divided. Farzan Ahmed works as “Artist”, Assad Ali deals with Technical Support and Farhan Ahmed is the Planner and Designer.

During the first wave of Covid-19 as all the kids were strictly confined to their homes, so instead of wasting their time in watching T.V or playing video games, these three kids started looking into themselves in search of some hidden talent and very soon they found out that two of them, Farzan Ahmed and Farhan Ahmed, who are brothers too, were very good at drawing, sketching and crafting, while Assad Ali groomed his skills of editing videos and making thumbnails.

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Watch the video: How to draw a rocket

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After, exploring their skills these kids started looking for a platform from where they can show their talent to the rest of the world. Resultantly they ended up in creating this channel “Artisty”.

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Watch the video: How to draw a mango

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As the name “Artisty” implies, this channel is all about the art – The art of Drawings, Sketching, Coloring, Painting and Crafting. Initially this channel aims to provide a viewer many videos on how to draw and color a simple picture. But this is just a beginning and by the course of time there will be tutorials on Water Color Paintings and Crafting. The crafting will comprise of making short picture stories by drawing pictures on simple paper and then skillfully cut them by scissors or paper cutters and paste them on a hard board or chart paper containing different backgrounds.

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Watch the video: How to draw a cute unicorn 

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The team of this channel will put all their energies on providing a viewer the quality of learning without getting bored and is quite hopeful that together they will make a difference.

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Contributed by Zeeshan Ahmed Memon

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