E'keiy - Lailiie's solo exhibition @ National Art Gallery, Male' (21st Nov - 1st Dec 2023)

 

The announcement of Laillie's solo exhibition was a pleasant surprise. I was eager to see her work in person. It did not disappoint, I visited it a couple of times. Like most (all) art, the true artisanship cannot be captured and hence appreciated in pictures (on Instagram). 

ENTRANCE

The video at the gate of the gallery entrance was perfect. Specifically for people, (including my freind) who had not heard of Lailiie or was unfamiliar with her works. It gave a quick insight into her process, the hours of ballpoint lines that turns into intricate drawings - videos all of us have seen on Instagram. 

'E'keiy' - is spelt out in big block off-white thaana letters, on the white far wall that greets you walk through the main doors of the gallery. The block letters were nice to see, I saw her working on it a couple of weeks ago and was curious as to what it was going to be used for. 

STATEMENTS

The exhibition text in black underneath the block letters and the way they were written, was important context. The embrace of 'dhievhin', childhood in a "family dedicated to preserving ancient items" and choosing a "variety of artifacts and objects that iconify Dhivehi culture." Additionally that, her family members "made a special contribution to making this exhibition feel warm and welcoming with local crafts created exclusively for the exhibition."

The artist statement next to the exhibition text - explaining her divulgence "into historical artifacts, traditions, and their influence on our identities, as 'Dhivehin' ", was fitting and well-rounded, if not a little repetitive next to the context provided by the exhibition text. Lallie's statement goes on to explain her love for ballpoint pen, its accessibility and straightforward-ness as a medium; which deeply connected with my companion. I think Lallie's statement of "how no matter how intricate I want my final piece to be, it will be made up of one line after another" is relatable to artists and non-artists alike. 

The comprehensive introduction to the artist's work, influences and processes really completed the exhibition. It made the exhibition (like Lailiie's work) a lot more accessible for anyone who was curious to step into the gallery. 

WORKS

The joali, to the right of the exhibition text wall, made me go towards it first. It was a set up for the traditional Maldivian game of 'thin hama', perfect for the curious faranjee like myself. My freind and I attempted to play a game, we were not successful. We couldn't understand the rules laid out to us. The shame of two millennial Maldivians being unable to understand and play the traditional Maldivian game was blamed on the text provided, Im not sure if this feeling was shared by others. 

I was a little disappointed that the joali did not have any pretentious element that made it 'art', but then again, the exhibition text gave me with the context of what the joali was doing here in the gallery. Which is also why I was only a little taken aback by the (wooden?) vases, without any tags. Lil' weird... but okay?

The coinage series, majority of it 42x42cm, was showcased on the wall. The details were intricate but did feel little flat. From what I know, it is what Lailiie was most known for, so I am glad she was able to showcase them. Hopefully now, she can move on from being "the coin girl". Another freind of mine suggested that it be displayed in an equal row, in the form of a timeline, which may have been better served for the framework of history and knowledge of the Dhivehi culture that the exhibition was primarily based upon. 

Across the heritage coins were two 'hand' pieces. More than the coins, the details like the henna on the fingernails felt 'dhivehi' and 'traditional' enough for me to connect with it. The reflection of the scissor was a great argument in the ability to execute depth. The longer I looked at the hands, the more I saw minute misalignments of the human anatomy - so I stopped looking. 

Then there was a long paced-out stretch of what I would call antiques(?) mostly in the 42x42cm. Although the series did include a drawing of a cassette tape, and a paper bird (another great if not the best argument for Laillie's execution of depth) but I'm not so sure if the nostalgia of paper birds and cassette tapes were as historical as a the coal iron. 

There was two smaller drawings of coral stone art and a bigger one in between them, at the end of the of the stretch of antiques. The bigger stone coral work was maybe the most photorealistic piece in the exhibition. 

The "iloshi meshun" piece was my favourite 'hand' piece. Lovely composition. It was hung across the stone coral works. 

THE BOX FRAME 

Hung across the 'antiques wall', in a box frame, were the ballpoint pens Laillie used. Im not sure if it is all the pens she used for the exhibition, but I hope it is. It was the only piece of art that was not for sale and it was absolutely gorgeous. I felt completely drawn to it. It made me reflect more on the hours she has put using this medium and the time it has taken than any other drawing.

No one really can understand how long she took to finish her paintings, (although it's included in the text of some drawings - which felt unnecessary) but everyone knows how long and how much a ballpoint pen has to be used for it to run out of ink - and thus, for me, it was a better showcase of her meditative practice. 

The piece made me truly reflect on Lillie's art and the exhibition as a whole, and honestly humbled me and my opinions of her art and the exhibition.

Im glad it was not for sale and I hope she continues to builds on this piece.  If her legacy in ballpoint pens, she has started documenting it - in what I think is the truest and rawest form. 

THE STORM PIECE 

Other than the sculpture piece (the box frame with the pens), my favourite,  favourite drawing was the "vaary" piece. It depicted palm leaves, and a satharigandu, in a storm. 

It was strong and it was visceral. It almost felt animated; I could hear it and feel it and see it and it was still black and white. It was beautifully captured with great composition and skill. I am really looking forward to her experimenting and exploring similar feelings. 

OVERALL 

hm...

I think, it's a blessing that Maldives (National Art Gallery) makes art more accessible for everyone. All Maldivians are talented and all of them creative thus, Lallie is a great example of the current, young, contemporary artist in the Maldives. 

If nothing else, it showed me what the standards of the National Art Gallery is. 

Personally, I like a lot more questions than answers, and these were a lot of answers.