orn in Calcutta, and raised in Kashmir, Raqib Shaw left India in 1998 for London where he completed his BA and MA at Central St Martins School of Art.
Raqib Shaw's gloriously opulent paintings suggest a fantastical world full of intricate details, rich colors, and jewel-like surfaces, all masking the intense violent and sexual nature of its imagery. Shaw's unique technique, where pools of enamel and metallic industrial paints are manipulated to the desired effect with a porcupine quill, meticulously enhances numerous details within the paintings, such as coral, feathers or flowers.
Every motif is outlined in embossed gold, a technique similar to ‘cloisonné’ found in early Asian pottery, which is a source of inspiration to Shaw, along with Uchikake (Japanese wedding kimonos), Byobu (screens), Hokusai prints, Kashmiri shawls, medieval heraldry and Persian miniatures, carpets and jewellery. Shaw has exhibited internationally, most notably in Without Boundary: Seventeen Ways of Looking, Broken Borders, MoMA New York (2006), Panic Room:
Works from The Dakis Joannou Collection, Deste Foundation, Centre for Contemporay Art, Athens; Around the world in Eighty Days, ICA London (2006), the ‘6th Gwangju Biennale’, South Korea (2006), the 17th Biennale of Sydney (2010), the 7th Asia Pacific Triennial of Contemporary Art (2012), Eurasia. A view on Painting, Galerie Thaddaeus Ropac, Paris; Whitworth Art Gallery (2017).
Major solo exhibitions include Raqib Shaw: Garden Of Earthly Delights, Museum of Contemporary Art, Miami (2006), Art Now: Raqib Shaw, Tate Britain (2006), Raqib Shaw at the Met, The Metropolitan Museum, New York (2008), Raqib Shaw: Absence of God, Kunsthalle Wien (2009), Raqib Shaw, Manchester Art Gallery (2013) which toured to Galerie Rudolfinum, Prague (2013).
His work is in the major collections include: The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; The Nelson Atkins Museum of Art, Kansas City, Missouri; Tate, London.