The city that never sleeps
By: Peerzada Salman
KARACHI: Contrary to what many art lovers think, drawing or interpreting city life is not an easy undertaking. Some suggest that while painting landscapes one has to have the sense of bucolic bliss as well as profound admiration for nature. True.
But urban life is as integral a part of nature as existing in a rural set-up because it either speaks of the distortion of nature or of an evolutionary process that the natural world cannot escape from.
A group show titled ‘The city never sleeps’, curated by Nafisa Rizvi, opened at the V. M. Art Gallery on Tuesday. The seven participating artists have in their own distinct ways tried to explore the wonders and horrors of the city they feel strongly about.
The exhibition grabs the viewer with the very first exhibit, Hamza Ali’s ‘Kaanwaan Meri’ (digital image on photographic paper).
The picture of a sleeping man in an oxymoronic way contradicts the title of the show and vindicates it at the same time. But there is nothing incongruous about ‘Jinnah’ in which an old man is perched on a pavement in an open space with closed eyes, as if meditating. Behind him Jinnah is written on the wall. The two bottles on each side of the old man add substance to the picture and the light shades of green impart an aesthetics touch to the black and white image.
Aaiza Alam surprises with an interesting pencil on kashkol artwork. The kashkol is not treated just a begging bowl but in her own words: “Like the kashkol, my place of existence transforms from a sacred existence to a sinful existence, yet an existence dear to me.”
Khuda Bux Abro has nicely captured the stories which the walls of the city tell.
They may be in the form of graffiti or chalking or their dilapidated condition may give away their plight. The marked feature of the artist’s effort is that he has kept the textural beauty of these walls intact despite the many changes they have undergone.
Shayan Meer’s work (handwoven, maroori on fabric) is a tribute to the shrine of Abdullah Shah Ghazi. The spiritual ‘feel’ of the artworks indicate how well the artist has endeavored to remain true to the experiences associated with the mazar.
Sahar Ghanchi paints the torment that the citizens of this land have been facing because of the unending sociopolitical situation. The exhibits’ title is ‘Silent Mourning I and II’ (acrylic on canvas). They impress with their sheer intensity and force.
Sara Najum’s untitled pieces (acrylic, blanko and marker on canvas) depict the convoluted state of many an individual amid us whereas Yamna Maqbool points towards the indifference that society has become accustomed to. And both artists make an impression with the sincerity of their ideas.
The exhibition will continue till Dec 12.
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