The Dawn of of Expression’ Paintings Exhibition at the Egyptian Embassy, brings together six artists

The last week saw the inauguration of the group show titled ‘Dawn of Expression’ at the Egyptian Embassy, in celebration of the people of Egypt on the first anniversary of their revolution. The show is the first in the Egyptian Embassy’s Young Artists Support Programme series of exhibitions, the brainchild of Egyptian Ambassador Said Hindam, who, upon his posting in Pakistan, took the initiative to launch this series of events to, in his words, “mark the wind-blow of creativity that is silently taking place in Pakistan.” The exhibition was inaugurated by Senate Chairman Farooq H. Naek, says a press release.

The first in a series of exhibitions, ‘Dawn of Expression’ exhibits the work of up and coming contemporary printmakers and sculptors. It is curated by Zahra Khan, an International Relations and Fine Art degree-holder from the University of Pennsylvania, who currently works at Ronald Feldman Fine Arts in New York. Zahra feels passionately about promoting and supporting contemporary art, and has put together a stunning representation of six emerging Pakistani artists.

As Zahra says in a statement: “Times of uncertainty and transformation often result in the production of fascinating and daring artwork. The work of many young Pakistani artists today reflects the undeniable curiosity, creativity and resilience of the youth of Pakistan, while simultaneously representing a society in flux. As the title suggests, this show celebrates and highlights the power of artistic expression and positive change. Mohsin Shafi, Atif Khan, Ayub Wali, Zaira Ahmad Zaka, Rabeya Jalil and Imran Mudassar are all young artists. Their bold work is multilayered; it highlights and captures their impressions of Pakistan and the worlds that they live in. Their pieces very powerfully express a sense of and quest for identity — whether it be national or individual. Exploring anomalies in the social and political system which they are also products of, they explore and portray them in ways which are at once whimsical, satirical and serious.”

Mohsin Shafi tackles the paradoxes in culture that prevent individuals from embracing and accepting themselves. Many of his prints and collages present a cowering, cloaked and covered figure accompanied by restrictive symbols, such as blinders and a birdcage. Shafi sends a powerful message regarding societal bondage and intolerance, a rejection of moralistic sermonizers, a celebration of self-identity, a questioning of what living really means to us. His body of work is a testament to the power of art.

Atif Khan thoroughly enjoys the role of narrator; he assumes a novel approach to restructuring the fusion of folklore and allegory. He has juxtaposed mundane objects with the glorified Mughal noblemen, coding and encoding between the collage and repetition, symbols of the hidden messages, which only the viewer reveals to him or herself. It is a wonderful merger of then and now, set in a milieu of playfulness.

Ayub Wali’s sculptures replicate the violence in Pakistan’s past and present. The showerhead gushing blood and the fragile cracked egg are indicative of death and birth, fracture and healing. Wali’s work is a reflection of a nation that has survived violent separation and loss and is now on the verge of a new beginning. Ayub Wali is also the co-creator of ‘Hareep’, a creative artist’s studio and residency NGO, and Director Gilgit-Baltistan division of UWCAT (Universal Women and Children Art Therapy Association).

Zaira Ahmad’s prints recreate the crumbling old buildings and walkways of Rawalpindi, which have become a part of her daily routine and her existence. Ahmad’s depictions of these structures emphasize the timelessness of these buildings and their impact upon her memories. This humanitarian vision is exemplified by the fact that she is the co-creator of Educate One, ensuring that ‘no child gets left behind.’

Rabeya Jalil’s prints are based upon a specific period in Pakistan’s history when the Rs5 note was being removed and the Rs5,000 was introduced. A Fulbright Scholar, and a worldly wise young woman, she touches upon issues of consumerism and patriotism in such a wonderfully tongue-in-cheek way, as her work highlights the subsequent decline in national belief due to the heavy implications of inflation and the rapid fall in consumer confidence.

Finally, Imran Mudassar’s paintings and triptych are openly critical of the widespread consequences of war. Heart Target, 2010, the gold and black triptych presents the often glorified methods of war – fighter jets and tanks. One of Three, 2011 represent the body of a man, which has been damaged by shellfire. The destruction of the human form and more importantly, the most treasured love, as symbolised by the heart is disturbing and intriguing at the same time. These pieces are based upon Mudassar’s memories of Kabul.

In keeping with His Excellency Hindam’s view to “give all these wonderful capacities a voice, a soul, and above all wings with an aim to contribute to its outreach; not only in Pakistan but also exploring new horizons worldwide,” the event was attended by a who’s who of Islamabad — US Ambassador Cameron Munter and his wife Dr. Marilyn Wyatt, Ambassador of Canada and Mrs Ross Hynes, HE and Mrs. Rudolfo Saravia of Argentina and other senior diplomats and members of the parliament. The event was also attended by the leading art critic Asim Akhtar, senior faculty of NCA (Rawalpindi Campus) and many Art enthusiasts.

The event was highly successful, with most artwork selling out within the first hour of the exhibition launch. With such an outstanding reception, Islamabad eagerly looks forward to the next installation curated by Zahra Khan in the Young Artists’ Support Programme.

‘Dawn of Expression’ remained at the Egyptian Embassy from January 25 to 28. It will move to Serena Hotel, where it will be on exhibit from February 1 to 8.

(The News)

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2 Responses

  1. February 7, 2012

    political postcard…

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