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The PCTI, The front grill and bumper of the truck detail

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The PCTI, The front grill and bumper of the truck detail

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Asheer Akram, [April-July 2010], Steel, synthetic enamel paint – 300x150x400), Modern Art Museum, Yerevan

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Asheer Akram, [2021], powder coating, steel (alloy), Wichita, Kansas

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Asheer Akram, [2011], metal domes, ceramic platters and other illuminated sculptures of stylized and refined industrial materials

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Asheer Akram, [Feburary 2012-Present], reds and blues and metallic gold, decorative chain dangle, LED lights, Nelson Atkins Museum of Art in Kansas City, MO

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Asheer Akram is a well-known artist who makes use of the vibrant architectural and decorative lexicon of the cultures he finds inspiring. Additionally, Akram is a skilled artist and a prosperous businessman with more than 20 years of construction industry expertise. At the tender age of sixteen, he launched his first firm, a painting company with four employees. Moreover, he highlights the significance of knowing one's own culture through the fabrication of trucks, metal domes, lit sculptures, and ceramic platters in his pieces. In addition, Akram aims to achieve a balance between monumentality, weightlessness, light and shadow, and inner and outside areas. Furthermore, Akram, who is a Pakistani descent, was born in Oklahoma City, Oklahoma in 1984 and currently resides in Kansas City, Missouri. Having completed his BFA in sculpture in 2007 and receiving professional instruction in his trade at The Kansas City Art Institute, Asheer possesses a degree in sculpting. With that said he keeps up his studio work by producing thought-provoking sculptures and captivating public installations.

Additionally, he spent the last ten years studying various civilizations and creating artifacts that draw attention to the underappreciated facets of these societies to acknowledge, honor, and preserve their worth. While being born and raised in the Midwest, Akram was intrigued by the characteristics that set one culture apart. In particular, he was fascinated in learning more about his Pakistani culture which led him to creating many things. In 2010, he set out on a voyage to meet family members and take part in a residence program in Pakistan, made possible by his Fine Arts degree. Upon seeing the ornately decorated cargo trucks during his visit, he was inspired to start the "Pakistani Cargo Truck Initiative." His public art installations, culturally-aware artwork, and programs that unite artists, communities, and regions as makers are further represented by the Pakistani Cargo Truck Initiative. This specific project in itself is a cultural phenomenon that is deeply rooted to the Pakistani tradition while also serving multiple purposes. His other work, "Moving the Mountain," which draws attention to aspects of other cultures, also serves to raise awareness of his Pakistani heritage by highlighting the significance of maintaining cultural identity in the face of globalization. Akram looks for characteristics that characterize the community, way of thinking, and historical identity. By employing this method, the artist was able to speak to both the general problems and the local situations that impede or promote community growth. As a byproduct of a global system that is becoming more interwoven by the day, artists feel compelled to produce works that take a broader view of the world. Moreover, it is evident that Akram's concept for his artwork is a person who values the different cultures around him. In particular, he incorporates the culture he was exposed to while residing in the United States while concentrating on his ethnic origin. Additionally, Akram intention is to celebrate the tenacity, courage, and cultural legacy of these people while simultaneously bringing attention to their troubles and hardships. With that said, his artwork not only aesthetically compelling but also socially and politically significant. He frequently uses metaphor, symbolism, and visual storytelling to make points that are profound and get people thinking about social concerns. His ceramic creations and interactive mobile art work are two prominent ways in which his ethnic heritage is represented. Furthermore, Akram hopes that those who see his works would be inspired by his culture and able to appreciate the value of social consciousness. In addition, Akram wants the audience to become informed about the various problems that occur from differing artistic or philosophical viewpoints.

https://www.kclaserworks.com/about-harris

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Akram's perspective on modern-day Armenia is embodied in the sculpture "Moving the Mountain." This work's central concern is the issue of generational continuity. These mountains' subject matter is not frequently, if at all, tackled by modern artists. This work specifically examines class structure and the cultural growth of ideas, has been inspired by the intriguing idea of a developing society. The artwork is made of manufactured steel and weighs about one ton. The incomplete appearance is a reflection of the current developments, particularly in Yerevan. The artist is reminded of the rebar silhouettes that emerge at nightfall from the top of construction sites by the smaller rods' looseness. The matte black hue that is frequently seen on the vehicles of influential and rich Armenians. At the top, or "peaks," of the sculpture is the earliest written form of Armenian; as one looks down, the text gets more modern. In general, the sculpture presents Armenian culture and history have persevered in the face of insurmountable adversity and overcome great difficulties. Asheer Akram thinks his work can contribute to an important public conversation, but for that to happen, it needs to be available to a larger audience.

https://acsl.am/moving-a-mountain/

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As Albert Einstein said, "The most beautiful thing that we can experience is the mysterious. It is the source of all true art and science." Einstein's concepts are attempted to be expressed in Akram's "Sacred Spaces" show. The artworks, which are on display at the Belger Crane Yard Gallery, translate spiritual experience into visual form. Massive sculptures, expansive wall reliefs, and smaller ceramic jars all combine the dualities of material and content. The ponderous and heavy materials utilized in "Sacred Spaces" include steel, oak, and clay. These materials are chopped and shaped into evanescent filigrees that reference Islamic motifs. By combining the largest sculptures with the most fragile and insubstantial foundation, Akram explores the concepts of weight and weightlessness. The intention is to provoke thought on a paradoxical and elusive feature of the human experience: our lives are as complex, vast, and fleeting as one of Akram's enormous creations. They are also as fragile, exquisite, and prone to upheaval.

https://www.tanyahartmanart.com/kc-star12182014

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In the Sacred Spaces, Akram creates a piece known as Luminous Girih. A rich aquatic blue-green screen of stoneware appears against a neutral steel base in this approximately 4-foot-tall work of steel, stoneware, glaze, and enamel. The two hues combine to create a single, cohesive creature that speaks of life and its consequences. The piece's overall shape resembles a cemetery marker. Akram has produced a work that is both philosophically interesting and aesthetically pleasing with comparatively minimal alterations. Akram's moderation also reflects his sense of color. He never used color for ornamentation; rather, he uses it when it is an essential part of the content. Furthermore, "Girih" designates a certain geometric art and design style that is prevalent in Islamic architecture and is distinguished by elaborate patterns of geometric shapes like polygons and stars. These patterns are frequently created by applying a system of guidelines and precepts that permit intricate, interconnecting designs. with the use of brightness components, such as the application of color, light, or reflecting materials.

https://www.tanyahartmanart.com/kc-star12182014

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Additionally another piece that is showcased in "Sacred Spaces" is Mashrabiya I. At first glance, you immediately see the beautiful luminosity this piece gives off. Mashrabiya I is a multi-medium sculpture that is made out of patina on steel with sealant and LED lights. Additionally, "Mashrabiya" is a term used to describe a kind of projecting oriel window that is surrounded by carved wood latticework in Arabic architecture and design. This type of architectural feature is frequently utilized to give privacy while still permitting light and ventilation to flow through. Furthermore, the use of this term suggests an exploration of cultural heritage and architectural motifs within a contemporary artistic practice.

https://www.tanyahartmanart.com/kc-star12182014

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Islamic architecture uses a kind of ornamentation known as muqarnas, which is characterized by intricate geometric patterns. Moreover, it is widely used as decoration for domes, minarets, and other architectural features. Having said that, Akram contributed to the design of the screens that face the seats at the Wichita Ballpark in Wichita, Kansas. Furthermore, Akram drew inspiration from Islamic architecture for the geometric ideas that comprise the screen wall. From the viewpoint of an athlete, these screens might just appear to be contemporary designs, but up close, viewers can appreciate the subtle elements that contribute to the portrayal of muqarnas in Islamic art. The pattern ripples and undulates as the central orb moves across the surrounding geometry. The multitiered ball is composed of muqarnas, or architectural components that have been flattened and simplified. We may use an aesthetic that is so deeply ingrained in Islamic architectural vernacular to create an atmosphere of inclusivity and variation.

https://www.milb.com/wichita/ballpark/art

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Akram's Pakistani cargo truck endeavor covers a broad spectrum of topics that are profoundly ingrained in Pakistani history and society. The iconography of these pieces of art is dominated by traditional themes including complex geometric patterns, floral motifs, and representations of regional landscapes and folklore. Displayed is Pakistan's vast cultural tapestry including animals, birds, and religious symbols. The aesthetic creates compositions that attract spectators by fusing traditional Pakistani artistic norms with modern sensibilities. Automotive enamel paint is the main media utilized by Akram in his artwork on cargo trucks. Because of the long-lasting paint, the artworks on Pakistan's highways are guaranteed to endure the harsh elements, including sunlight, dust, and weather. The heart of Akram's creative practice is embodied in his Pakistani cargo truck venture, which combines modern expression with traditional legacy to produce visually striking artworks that appeal to audiences both locally and internationally. Through this project, Akram demonstrates his unwavering belief in the ability of art to act as a catalyst for social transformation and cultural enrichment while also transforming ordinary cars into moving works of art and encouraging cultural pride and community involvement.

https://theculturetrip.com/asia/pakistan/articles/the-pakistani-cargo-truck-initiative-an-interview-with-founder-and-sculptor-asheer-akram

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Asheer Akram & Linda Lighton, [2011], porcelain, glaze, LED lighting, steel work, 18" x 18" x 20"

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"Everlasting Light" is a collaboration piece between Linda Lighton and Asheer Akram. Together, Lighton's exquisite porcelain work and LED light, and Akram's steel work, produced an incredible sculpture that fosters communication between these two very different artistic mediums. Furthermore, both of these artists are from the Kansas City, Missouri, area, and they both aim to elicit a thought from their audience regarding the meanings of their respective pieces. Moreover, I think that mixing these two media gives the impression that delicacy is being concealed, at least from the perspective of an outsider. However, Lighton claims that "guns seem to be flowering like weeds," which makes me think that Lighton is trying to stop the proliferation of gun violence by using Akram's difficult-to-break steel work in this piece. That said, the fact that the flower has an LED light embedded in it reinforces the notion that, although we can try to hide the fact that weapons are a topic of conversation, we will never be able to completely eradicate it.

https://www.lindalighton.com/objects-of-faith-inspire-objects-of-art

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The PCTI: Outreach and Programming, detail

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The PCTI: Outreach and Programming, detail

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Inspiration from the initial Pakistani Cargo Truck Initiative, Akram dedicated time to designing seminars that disseminated information about his work and its narrative to his audience. This afforded him the opportunity to express his attempt to portray his culture via art. With that said, the audience's usage of cardboard and other combinations of various art mediums further enhanced the participation of the diverse cultures in order to construct the colorful and eye-catching cargo truck. First and foremost, it gives truck drivers and owners a platform to exhibit their unique personalities and creative selves. The ornate decorations also have functional uses, like drawing attention and drawing customers on Pakistan's congested roadways. The Pakistani Cargo Truck Initiative is now recognized internationally as a unique style of folk art, in addition to its aesthetic value. Photographs, movies, and art exhibitions, both domestically and internationally, regularly showcase these adorned trucks, which have come to represent Pakistani culture.

https://www.asheerakram.com/#/maritime/

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The name "Terra Wandering" suggests a sense of exploration and displacement. Additionally, "Terra Wandering"  embodies themes of movement, metamorphosis, and the meeting point of humans and the environment. Having said that, it is highly renowned for its unique fusion of industrial and natural features. Large-scale sculptures built of a combination of biological materials like wood, clay, or stone and man-made materials like plastic or metal make up this piece. Specifically, hardware, galvanized steel, and powder-coated steel are used to make this piece. All you can do when gazing at this sculpture is be in awe of its vastness, its geometric designs, and its shimmering reflections. Based on the way light glimmers off of this sculpture and a few others, it leads me to believe that Akram is experimenting with the concept of luminosity. Furthermore, the artwork's frequent appearance of flux or transition also reflects the dynamic interplay between nature and human intervention.