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Painting (MA)

Taro Qureshi

Taro Qureshi was born in East London in 1992. During his BA at Middlesex University, he became deeply invested in the ontological strangenesses of language and its derivatives. Taro went on to be a student in the first cohort of the new Graduate Diploma at The Royal College of Art, and in 2019 he continued onto the Painting MA programme.


Selected Publications/Exhibitions

2021 RCA Painting & Sculpture Degree Show, Cromwell Place, South Kensington

2021 'The Wire' Magazine June Issue, 'Radio Activity'

2021 'The Wire' Magazine May Issue, 'Unofficial Channels'

2020 ‘Pending’ San Mei Gallery, Loughborough Junction

2020 IBGYBG, The Function Suite, Stratford

2019 High Strangeness, The Function Suite, Stratford

2019 Tender 02, The Biscuit Factory, Bermondsey

2019 Buttery Toast Presents Sugary Tea, Low Profile Studios, Haringey

Degree Details

School of Arts & Humanities

Painting (MA)



Reality is inaccessible to us - all we have, barred from the realm of noumena, is a shifting, transient web of simulations. The Demiurge, a mythical deity first referenced in the Gnostic creation myth writ in 'The Apocryphon of John', is the director of these simulations. Paintings do not obediently reference reality - they are alternate realities in themselves, on the same register as myriad subjective perceptions, of which there are as many as there are perceiving beings. The Demiurge, with his hubristic act of creation, has birthed an infinitude of other Demiurges.

'Delamination' is a mode of failure where a material fractures into layers. A separation along a plane parallel to a surface, as in the separation of a coating from a substrate.

Abu Ghraib One And Two, Three, Four, Five, Six, Seven, I Voted! — Acrylic, PVA, Duct Tape, Laserjet Print Collage, 64 x 59 CM
Clean Fade Canon — Acrylic, PVA, Laserjet Print Collage, 84 X 84 CM
Born Again, Broke As Fuck — Acrylic, Duct Tape, PVA, Laserjet Print Collage, 89 X 35 CM
Goblina — Acrylic, PVA, Duct Tape, Laserjet Print Collage, 56 X 47 CM
Bodega Basehead Monotonogamy — Laserjet Print College, 75 X 68 CM
The Office Is Full Of Sand — Inkjet Print Collage, 14 X 9 CM
Radicalizing Myself In The Mirror — Laserjet Print Collage, 110 X 86 CM
Untitled (Wet) — Oil, Acrylic, Hammerite, Metal, Laserjet Print Collage, 43 X 22 CM

"She had no idea how long she’d been there[...]There were dozens of the arms, manipulators, manipulators, tipped with pliers, hexdrivers, knives, a subminiature circular saw, a dentist’s drill . . . They bristled from the alloy thorax of what must once have been a construction remote, the sort of unmanned, semi-autonomous device she knew from childhood videos of the high frontier. Two of the arms, tipped with delicate force-feedback devices, were extended; the soft pads cradled an unfinished box. Eyes wide, Marly watched the uncounted things swing past. A yellowing kid glove, the faceted crystal stopper from some vial of vanished perfume, an armless doll with a face of French porcelain, a fat, gold-fitted black fountain pen, rectangular segments of perf board, the crumpled red and green snake of a silk cravat . . . Endless, the slow swarm, the spinning things . . . Jones tumbled up through the silent storm, laughing, grabbing an arm tipped with a glue gun. ‘Always makes me want to laugh, to see it. But the boxes always make me sad . . .’ ‘Yes,’ she said, ‘they make me sad, too. But there are sadnesses and sadnesses . . .’ ‘Quite right . . .’ He grinned. ‘No way to make it go, though. Guess the spirit has to move it.”

-William Gibson, Count Zero

 

 

Associative Network #1 — Digital Drawing, Dimensions Variable
Access Card — Acrylic, Oil, Inkjet Print On Canvas, 100 x 90 CM
A Sunny Day — Laserjet Print Collage, 89 X 35 CM

“This explains how contemporary art can be seen as an epistemological metaphor. The discontinuity of phenomena has called into question the possibility of a unified, definitive image of our universe; art suggests a way for us to see the world in which we live, and, by seeing it, to accept it and integrate it into our sensibility. The open work assumes the task of giving us an image of discontinuity. It does not narrate it; it is it. It takes on a mediating role between the abstract categories of science and the living matter of our sensibility [...] It is a rather complex optical experience not only because our point of view is constantly changing and there are numerous optical dead ends, perspectives creating paths that might end in the middle of a plain or at the edge of a cliff, but also because we are constantly jolted by the painting, by this constantly flat surface on which none of the traditional techniques have been used. But this multiple vision is quite normal: this is how we really see things during a walk in the country.”

-Umberto Eco, The Open Work

Empath Mass Grave 2020/2021 — aka Rollercoaster Diss Function (Clanging) aka Haram Image No. 15 aka JPEGS as Gathering Intensities aka ‘We Have To Be So Careful With The Words That We Use’, Duct Tape, PVA and Inkjet Print Collage, 180 x 180 CM