My practice concerns the experimental possibilities available in architectural representation; more specifically, I am interested in developing non-conventional uses for the representational types normally employed in the everyday practice of architecture. Architects use these representational types (i.e.: drawing, modeling, mapping, visualization) as a means of describing their design intentions. Through a specialized visual code-- some parts formally standardized, others tacitly understood-- architects outline their desires graphically, and these images are in turn built into reality. As such, representation in architecture is often part of a linear chain of events, located near the front end of a narrative that begins with design intention and ends with built work.
One of the aims of my work is to reconsider this positioning of representation, to imagine new outputs that might be associated with architectural drawing. For example, what if issues of subjectivity or emotion could be conveyed through the draftsman's language of scale and lines? Or instead, what if irony or humor were taken as constructed elements brought forward by an architectural rendering, section, or plan? I want to explore the extent to which desires (those other than the longing for building) can be described, and then perhaps built, through an architect's drawing. If- conventionally- architectural representation is a link between desire and reality, then, aside from buildings, what are the other realities that might be produced? It is this search-- for the non-physical constructions that could result from design-- that is the driving force behind my artistic process
Submitted Work Statement
Celebatorium is a series of prints that imagines- architecturally- a domicile conceived for “the involuntarily unmarried.” Through the convergence of multiple languages, both graphic and textual, including architectural drafting, Urdu poetry, vulgarity, humor, and cliché, these prints attempt to engage with issues of social inequality, alienation, and the politics of desire and its repression. They experiment with forms and techniques associated with architectural drawing in order to extract unconventional outputs from this representational type.
Mustafa Faruki has studied History of Art at SOAS, London, and Architectural Design at Columbia University, where he recently completed the professional degree in architecture. His work explores the experimental possibilities available in the field of architectural representation. Currently, Mustafa works for a small design practice in Tribeca; he lives in Forest Hills, Queens.
M.Architecture, Columbia 2010
MA History of Art (Distinction), SOAS, Univ. of London 2003
BA Architecture, Columbia 2001
Selected Group Exhibitions
International Print Biennale, Hatton Gallery, Newcastle
"Black and White" Brooklyn Waterfront Artists Coalition, Red Hook
"Distance" curated by Radius Twelve, Grady Alexis Gallery at El Taller Latino Americano, New York
"SubSeries" by Baukunst Studio, part of the "Festival of Ideas for the New City", New York
"Esoterica: Emerging Artists" The Buttondown, Glens Falls, NY "InJustice for All" Upstate Artists Guild, Albany NY
"Cupidity" Upstate Artists Guild, Albany NY
"Games" UAG, Albany NY
"Black and White"Lapham Gallery, Glens Falls NY
Selected artist, 2012 Artist in Residency Program, Nordic Artists’ Center, Dale, Norway
Selected artist, Contemporary Artists Center- Woodside Residency Program, 2012
Selected artist, Northern Print International Print Biennale, 2011
Selected portfolio, the Design Archive of the VanAlen Institute, 2011
New York State Council on the Arts Individual Artist Grant, 2011
Columbia College Henry Evans Fellow, 2001