Cassell invites category-crunching – applied art becomes fine art, ceramics
become sculpture, and her activities in both areas draws deep inspiration
from architecture’ Andrew Lambirth
Combining strong geometric elements with recurring patterns and architectural principles, Halima’s work utilises definite lines and dramatic angles in an attempt to manifest the universal language of number and create an unsettling sense of movement.
Born in 1975 in Pakistan, brought up in Manchester and now living in Shropshire, Halima’s varied, multi-cultural background is tangibly present in her work. Fusing her Asian roots with a fascination for African pattern work and a passion for architectural geometry, Halima’s work is intense yet playful, structured yet creative, substantial yet dynamic and invariably compelling in its originality.
A maker of considerable versatility, Halima has extended her signature work in clay to a range of new materials including, glass, porcelain, bronze and now marble. She works in high relief carving light-eluding folds and gullies where shadows play with light catching peaks. Halima forms are energetic expressions of her psyche linking two cultures, like left and right hemispheres of the brain; logic and reason married to irrationality in order to formulate a style of working. Like slightly shifting sands her work refuses to stand still.
Halima’s work is represented in a number of private and public collections including The Victoria and Albert Museum, London, The Hepworth Wakefield, The Jerwood Foundation, The Walker, Liverpool. Her most recent commissions have been for The National Gallery of Indonesia and a large public sculpture for The Forst of Bowland in Lancashire.