December 27, 2008

Viewing the work of graduating artists in Pakistan is always an exciting affair. From Quetta, Lahore, Hyderabad and Karachi, there is an outpouring of original viewpoints in which one may find extraordinary talent giving rise to great hopes for the future of art in the country.

It has been said that ‘systems are made for the unexceptional student’ though exceptional students have a way of making their own rules. In many European countries entrance examination to schools expect a degree of education that would have turned away Jackson Pollack, Picasso and Brancusi. Fortunately for us, in Pakistan there is a deeper recognition of what is required in art, and many of the most talented artists of current times are from interior areas of different regions of the country.

Art plays a special role in life. It answers a universal desire to understand nature and humanity and every art school has its own ‘flavour.’ As artist Ben Nicholson once said: “I don’t see how anyone can do more for a student than set him free to discover himself.” Ideally an art school offers students the space to work in, reasonable equipment, a certain degree of technical instruction and an encouraging atmosphere.

Visiting various schools, one expects to be satisfied if one or two graduating students show a promising body of work, but recently viewing the theses work of students of Karachi’s oldest art institute, Karachi School of Art (KSA) established in 1965, jurors found it extremely difficult to assign top honours amongst the students, as the work in several cases was exceptionally good, and painted with skill on a grand scale.

A series of paintings titled ‘Time’, by Zubair Uddin, is a prime example of inherent talent. Zubair’s assemblage of fragmented symbols of passing time had the jurists spellbound. One hopes the young artist will stay with his art and not be tempted into join TV as so many do.

Sara Mirza’s ‘Boundaries and limitations’, depicts young people enclosed in bottles. Her strong painting skills have allowed her to depict the appearance of glass in a very realistic way. Explaining her work she says, “We are not limited by our imaginations, but by our ability to do what we imagine. We are not too often limited by our abilities as by circumstance.” Her series finishes on a hopeful note with a crow dropping stones into a bottle to facilitate escape.

In her work ‘Beauties of existence’, Uroosa Ishtiaq has used herself as a model to create some wonderfully textured and designed paintings, with a disciplined palette and great use of light and shade. In contrast, a sequence of paintings by Mahrukh Raza offers a joyous burst of colour. Collectively titled ‘Puppets with musical instruments’, Raza’s abstract approach is incredibly assured. Each brilliant colour has its own place on the canvas and none dominates the composition creating a harmony of optimistic hues.

Sofia Matloob has painted and sculpted horses, all freely running with manes flying. Turab Ali Shah has mused on the concept of ‘Paradise’, while Salman Hassan has studied the organised colonies of ants, reproduced in the media of printmaking. Hira Ghanchi chose delicately fluttering butterflies as her subject.

Traditional patterned antique doors have intrigued the imagination of Sonia Ali Shah, who has painted and carved facsimiles of these exquisite pieces. Most outstanding in her collection is a life-size model of the artist opening a great door, where one discerns rays of light.

A very interesting body of work was shown by Arif Taha, who boldly expresses his personal opinions through the media of Installation. Included in his work are rows of rainbow hued small bottles, topped by baby’s teats. These says the artist, act as diversions offered by the media to mislead the public. It is really a very brave effort, particularly since installation art has no market and few sponsors in the country. It is also usually expensive to set up; but such is art and the spirit of Taha’s work reminds one of Nagori in the ’80s, a lone voice.

Mohsina Bibi is of the opinion that people living in small communities or mohallas, where neighbours interact on a daily basis, are the happiest of folk. She depicts this idea with buildings, close and high, painted in geometric shapes of colour.

Anila Sanober has explored space with beautiful gradients and changing areas of colour where fine, thread-like lines created suggestions of form, tempting the viewer’s imagination.

The glamorous stiletto heels painted and sculpted by Ayesha Gul raise gender issues, since in her words “only women can wear these shoes”. Accompanying the high heels are tiny figures of men who are attempting to manipulate them.

Perhaps the most original thesis work since the graduation from the KSA of Hanif Shahzad several years ago, when he created images from scraps of coloured paper, was that of Sana e Zehra, who has used threads woven onto wooden frames as the surface for her work. Compositions are created from varied pieces of cloth and put together as mosaic artwork. Most extraordinary is the image of assembled metal pipes and pieces.

In spite of the rain, visiting KSA to see the work of the graduating students was exhilarating and exciting and it made one very happy to know what a talented bunch these new artists are.

 

1) Sana e Zehra;
2) Sara Mirza;
3) Zubair Uddin;
4) Hira Ghanchi;
5) Uroosa Ishtiaq;
6) Mohsina Bibi;
7) Ayesha Gul