Written by: Shameen Arshad
Posted on: December 22, 2023 | 
| 中文
Collapsible by Kishwar Kiani
Unlike popular belief, drawings and the practice of drawing, aren’t simplistic representations or captures of a visual. They entail a level of introspection, reflection, grappling with emotions, and a host of complex decision-making on the part of an artist. Therefore, such works are inundated with depth and meaning, and most importantly, they hold the potential for multiple interpretations for the viewer.
Untitled by Shafique Ahmed
The exhibition "Conquering the White Space II" at Khaas Contemporary, Islamabad, serves as an example of such work. It showcases the diverse works of seven talented artists from across the country: Farrukh Adnan, Aimen Jamil, Kishwar Kiani, Muhammad Asad, Shafique Ahmed, Faisal Asghar and Babar Gull. These individuals come from different institutional backgrounds and experiences, giving the visitor different takes on drawing, and a brilliant glimpse of the Pakistani art market. The exhibition that opened on December 19th of 2023 is a sequel to an earlier show held at Khaas, and retains a similar impassioned simplicity. The artists have consciously limited their tools, using pencil or ink and foregone other embellishments, thus establishing a more unfiltered connection between themselves and their subjects.
Babar Gull’s practice contains an interesting dichotomy, as it’s made up of simple, minimalistic elements to create elaborate and delicate images. The work shows the versatility of simple basic design elements, and the process of manipulating them to create different visual possibilities. The craftsmanship reveals a great finesse that awes the viewer as it reveals a level of immaculate creation via the human hand. Gull's images, devoid of demanding expectations from the viewer, allow for a moment of pure contemplation over the intricacies of his creative journey.
Red Letter Edition by Babar Gull
Kishwar Kiani’s drawings represent the importance of single, individual units coming together to create wholes, whether it be in concrete structures or human beings. Her work presents the human being as a whole, made up of many simple, yet intricate and entangled elements. The body is shown as a product of different relationships and alignments, and just like her built environments in “How about Untitled 1? /2?”, the human being can be seen as constructed from intricate elements, reflecting the complexity and vulnerability inherent in the human condition.
Structures here are made analogous to the human form, allowing a poignant commentary on the time it takes to build oneself up, and the vulnerability of the collapse or breakdown. The structures can be seen as representing the intangible aspects that build up a human, and the complexity of the human structure. Furthermore, Kiani’s drawings present a skill level that fascinates the viewer. The finesse of the artist’s craftmanship takes center stage as she beautifully captures the tactile nature of both concrete built-forms, and the vulnerability of the human being.
The love for creating is most prominently seen in Muhammad Asad and Shafique Ahmed’s work. Their works showcase a deep engagement with the laborious aspects of art creation, demonstrating an openness and enthusiasm to unpredictable visual results. Their work possesses a meditative quality, conveyed in the repetitive lines, spreading upon the white expanse of the canvases.
Monochrome Symphony by Muhammad Asad
On the other hand, Farrukh Adnan’s work is an embrace of spontaneity and chaos. Devoid of repetition, his images assume a more relaxed aura. His work is the result of molding seemingly random and unintentional scribbles into ingenious and stimulating imagery. His work shows how seemingly random mark is significant in its own way, transforming the chaos into peaceful, deliberate and balanced images.
Faisal Asghar’s drawings aren’t restricted by the traditional rules and precision of the practice of drawing. Asghar takes more liberties that are evident in his loosely structured compositions, consisting of a more fluid and organic feel, therefore elevating his message over the undue importance given to immaculate and exact representation. The use of natural landmarks and their interplay with the built environment in “Evolution I”, references themes ranging from the constantly evolving relationship between man and nature to the profound notions of home, land and belonging. In contrast, “Evolution II”, introduces a more enigmatic mood, hinted at by the empty eyes of the human portrait. Thus, the switch in mood from “Evolution I” to “Evolution II”, indicates an evolution.
Evolution II by Faisal Asghar
Aimen Jamil's images also suggest nature/environment assuming human sentiments. The personifying clouds within a pitch-black sky, evoke strong emotive qualities. The clouds possess a narrative weight, suggesting emotions of dread, sorrow or finality, depending on the viewer's psychological perspective. The organic forms in "Forlorn Remnants," as the title implies, reject their true nature and take up a solid, rigid form. The artist's experimentation with different manipulations of the graphite medium gives her work a dynamic and process-oriented feel, leaving viewers yearning for more pieces to delve into the depths of Jamil's experimental findings.
Forlorn Remnants by Aimen Jamil
In conclusion, "Conquering the White Space II", beckons viewers to appreciate the nuanced approaches of these Pakistani artists, showcasing their mastery of drawing and line work while exploring diverse themes and narratives. The exhibition successfully captures the essence of the artists' love for the artistic process and their unique perspectives on conquering the white space. The show runs till the 6th of January,2024.
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