An Epic Journey Unfolds in Chicago: Raqib Shaw’s Paradise Lost

A work of staggering scale and obsessive detail is currently commanding attention at the Art Institute of Chicago. London-based artist Raqib Shaw’s Paradise Lost, a monumental painting measuring over 100 feet wide, is being presented to the public for the first time in its complete, 21-panel form. The result of a creative process spanning from 2009 to 2025, this “Special Loan Installation,” as designated by the museum, is not merely a large-scale work but a deeply personal magnum opus that synthesizes a lifetime of experiences and a vast array of art historical influences.

For professionals in the art and antiques world, Shaw’s practice is a compelling case study in cross-cultural dialogue and technical innovation. Born in Kolkata in 1974 and raised in the Kashmir valley, his artistic sensibility was shaped by his family’s background as merchants dealing in antiques, textiles, and jewelry. This early immersion in decorative arts is evident in his mature style. After relocating to London and studying at Central Saint Martins, Shaw developed a visual language that draws from an eclectic and sophisticated well of sources: the intricate detail of Mughal and Persian miniatures, the dramatic compositions of Renaissance altarpieces, the gilded surfaces of Japanese Momoyama-period art, and the rich textures of Persian carpets.

His technique is as unique as his influences. Shaw has developed a singular method that gives his works their jewel-like, almost three-dimensional quality. He begins by outlining his compositions on a gesso-prepared panel with a liner of acrylic paint, creating a raised golden line that functions much like the lead in a stained-glass window. Into these cells, he applies vibrant industrial and automobile enamel paints using fine-needled syringes, meticulously manipulating the viscous colors with a porcupine quill. The final surfaces are often further embellished with inset crystals and glittering stones, resulting in a luminous, cloisonné-like effect that rewards close and sustained looking.

Paradise Lost applies this meticulous technique to a sprawling autobiographical narrative. The Art Institute of Chicago explains that the 21 panels guide the viewer on a journey through the artist’s life, moving from the “nocturnal solitude” of his remembered Kashmiri childhood to the overwhelming, “frenzied daylight” of the Western art world, and culminating in a vision of a fragile, hard-won peace.

The painting is dense with symbolism, featuring mythical creatures, hybrid figures, and scenes of both natural splendor and collapsing civilizations. Throughout this epic, Shaw inserts self-portraits in various guises: as an anthropomorphic creature, as a monkey gazing in wonder at Western opulence, and as himself, seated in quiet contemplation. While the title nods to John Milton’s 17th-century poem, the work is not a direct illustration. Instead, it serves as a meditation on the many forms of paradise that can be lost throughout a life—childhood innocence, cultural belonging, and creative tranquility. “This is not just my story,” the artist stated, “It is the story of each of us, and the story of our times.”

The significance of this exhibition lies in its completeness. While an earlier chapter of the work has been shown before, this presentation marks the world premiere of all four chapters together. It offers an unprecedented opportunity to grasp the full scope of Shaw’s artistic and personal vision. For collectors and connoisseurs, Shaw’s work represents a unique position in the contemporary market, blending a deep knowledge of historical craftsmanship with a powerful, modern narrative voice. The sheer ambition and technical mastery of Paradise Lost solidifies his standing as an artist of major international importance. As Shaw himself expressed, the painting was made "to offer a space of reflection for emotional recognition and perhaps for quiet rebellion against forgetfulness." In a fast-paced art world, this monumental work demands that we do just that: slow down, look carefully, and feel without haste.

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