Written by: Shameen Arshad
Posted on: March 13, 2020 | 
| 中文
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Getting out when it is heavily pouring outside is a decision that doesn’t come easily, yet I felt making a trip to Tanzara Art Gallery for their opening of Imran Ali Kazmi’s solo show was worth the effort. Kazmi is known for his figurative painting that raises questions about the representation of the “quintessential” Pakistani woman, ideas of femininity, vulnerability and subtle, often overlooked human sentiments.
Kazmi’s photorealistic images leave everyone in awe, even those that are not fond of the traditional style of painting. The skill of the artist and his eye for detail is something that lures almost everyone towards his artwork. Love it or hate it, you cannot deny the painter’s command over his medium.
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Kazmi’s work is pure delight for people that feel that contemporary art is quite a deviation from proper aesthetic- the ones that feel that the label “art” is slapped onto everything today. Kazmi’s paintings satisfy these critics with an emphasis on the accuracy and delicacy with which he captures his subjects. On the very first glance one can tell that the medium and technique takes precedence over the subject matter, a sentiment which was then confirmed by the artist himself who said, “ I just love to paint”.
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His unfathomable skill also landed Kazmi the opportunity to be the first Pakistani artist to get the chance to study and reproduce a painting at the National Gallery, London. The artist’s reproduction of Rembrandt’s “ Saskia” was also placed within the exhibition, creating an interesting comparison between the European master’s representation of female holding flowers and his regal Asian women adorned with flower bracelets or “gajras”.
Kazmi’s paintings show an acute understanding of material, texture, tonality and consistency. However, his photo realistic images that can easily be confused for digital prints, do raise questions over the choice of medium- to paint an image realistically or simply display photographs? Does his choice reflect the lack of faith in photography as a medium, or it is just the great love for the physical labour that is involved in painting?
The artist shows off his ability to paint with his flat paint application, essentially identically replicating photographs, as well as adding playful brush strokes in parts to reveal a more kinetic quality the material possesses. The change in paint application also helps avoid stagnancy, retaining the viewer’s interest. The artist’s use of material also perhaps hints at the the lack of equilibrium within the scene depicted upon canvas.
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The particularly thin and flat depiction of the flesh, to some extent diminishes the life like quality of his protagonists, creating a slight eeriness about them. The female figure is adorned excessively with ornaments and elaborate dresses, that tend to overpower her. The ornamentation tends to take on more of a life then the person themselves.
The paintings possess a quiet severity, perhaps just like the women depicted within the frame - not loud yet alluring, holding one’s gaze. It might be thought by some that the artist’s approach to work is a rather safe one, painting his female subjects as generally “acceptable” to be displayed in many spaces. The images that on first glance just seem to be pretty pictures, on further inspection reveal a very grave and complex subject. They represent subtle emotions that are probably acknowledged only when brought out of every day settings and displayed in an art gallery with a big spotlight on them. Kazmi intends to keep his paintings open to interpretation, though he does hint at the loneliness and restlessness of his female subjects.
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Yet these ideas are negated by the sense of isolation that engulf his subjects. Each image lacks the sense of an onlooker or audience of any sort. The use of mirrors further hints at moments of introspection, as the women gaze endlessly at their own reflection. Furthermore, the empty backdrops, deprive us of context, keeping the viewer guessing as to what exactly is happening with Kazmi’s subjects. The women have sadness about them, yet it is not obvious as to what afflicts them.
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Kazmi’s signature style makes me nostalgic for Urdu Digest magazine covers from the 90s, with their detailed ink drawings. With women similarly clad and posing, the aesthetic that seemed to have been long forgotten, is now making a comeback with perhaps a wider audience as it makes its way into mainstream galleries.
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