Reference Image. Photograph Ehsan Ul Haq
'Rooster', 2010, chicken feed and a live rooster
Ehsan Ul Haq focuses on the tension that exists where life and art meet. In his
installations, sculptures and interventions he combines objets trouvés and mechanical constructions. Noah’s Ark (2011) for example consists of domestic objects piled up in a cube-like form emphasizing the temporality of a physical object. In Creation of Adam (2012) an egg in a cage made of chicken wire is lit by an electric bulb acting as an artificial means of growth, a sort of incubator. The work also strongly references the historical/mythical idea of Adam’s creation. The use of live animals in Ul Haq’s practice diffuses the boundary between life and art, and simultaneously critiques the alleged superiority of man, as suggested by religion and politics.
A recent work consists of a flowerpot in the form of a lion referring to the domestication of animals and human social hierarchy. Ul Haq plays with viewers’ expectations and attempts to blur the distinction between art objects and utilitarian products to create a plane where art and life exist in parallel, ambiguous forms.