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    'Parallel Realities' by Onaiz Taji and Haya Zaidi at Sanat Gallery

    Written by: Nimra Khan
    Posted on: September 07, 2018 | | 中文

    '15th August 2010' by Onaiz Taji, highlights the brutal lynching of Mughees and Muneeb Butt, two innocent boys from Sialkot, who were beaten to death by a mob on false accusations of theft

    While there was a time in history when art was almost synonymous with life-like figurative sculptures and grandiose portraiture, in recent years there has been almost a rejection of the human form, with modern abstraction, minimalism, and boundary defying contemporary art, finding more indirect means of depicting human experiences. However, the past couple of years have seen an upsurge in figurative works, and artists have found new ways of exploring the body and its depictions, while still remaining relevant to the current artistic narrative. Adeel Uz Zafar agrees that figurative works have seen a revival of sorts of late, and his current curatorial project at the Sanat Gallery, “Parallel Realities,” looks at the ways in which two artists, Onaiz Taji and Haya Zaidi, make use of human forms in very unique, diverse  and symbolic ways to put forth their individual concerns.

    Onaiz Taji’s work is presented with interesting visuals, with a very informal appeal and a sketchbook/journal-esque appearance. His repetition of tiny illustrated figures seems to create a homogenous mass, yet upon closer inspection one can see the careful attention to detail in each figure, and their unique individual presence. The finesse of the line and the scale of the drawing seem to emerge from the artist’s miniature background, yet the style is akin to pen and ink book illustrations. The lack of color and the minimalist style, help drive focus on the volume of bodies and the little instances and intricacies within the compositions that become points of interest.

    Jalsa by Onaiz Taji

    Jalsa by Onaiz Taji

    The artist seems to allude to mob mentality through these works, and the ways in which a large group of people can become an entity distinct from the individual, acquiring its own thoughts, views, ideals and conceptions of right and wrong. “15th August 2010” and “13th April 2017” show us how violent monstrous acts can become normalized and acceptable within the anonymity of a group, while their absurd reality is revealed through distance from the situation. In this way, the culprits are granted immunity for their crimes, while instigating otherwise innocent and oblivious bystanders at the peripheries of the crowd, to become part of the heinous acts.

    Haya Zaidi’s works in comparison are darker and more saturated with imagery and symbolism. Her figures are closer to realism yet morphed and mutated into surrealistic forms, with a certain grotesqueness putting forth her ideas more compellingly. Commanding the medium of paint and collage on polyester film with much success, the haphazard and bizarre imagery cut and pasted from magazines gels surprisingly well with the painted surface and has a level of coherence one does not expect. The clashing images sit comfortably together even as they create discomfort in the viewer. Here, again, the artist’s miniature background only emerges in subtleties, such as the flat perspectives and stiff profiles of the figures, symbolic imagery and painting techniques. The work has a more visceral quality to it, as she allows the process to drive the narrative and the final outcome, instead of the other way around.

    Reaching out in vain by Haya Zaidi

    Reaching out in vain by Haya Zaidi

    Vanity Fairgrounds by Haya Zaidi

    Vanity Fairgrounds by Haya Zaidi

    Zaidi’s work relates to her experience of being a woman in a patriarchal society, and the resultant politics surrounding women’s bodies and their reproductive, professional and personal freedoms. The works use female anatomy; organs and body parts; birds; jewelry and other ‘feminine’ symbols; and Islamic motifs to raise pertinent issues pertaining to a woman’s status, worth and perception in society. “Eye Candy” speaks of the male gaze and its burden placed on women, who are reduced to objects of desire even by those who presume to be “protecting” them from uncontrollable male urges. “Birth Control” is another expressive piece, dealing with the physical realities of reproductive choices and the associated emotional and mental turmoil, in terms of the consequent changes that can occur within the body.

    Both artists present their own experiences of reality, yet their very different approach to the figure in terms of medium, technique, style, imagery and message becomes a testament to the latent wealth of possibilities figurative imagery still has to offer young artists today.


    As the new year begins, let us also start anew. I’m delighted to extend, on behalf of the Embassy of the People’s Republic of China in the Islamic Republic of Pakistan and in my own name, new year’s greeting and sincere wishes to YOULIN magazine’s staff and readers.

    Only in hard times can courage and perseverance be manifested. Only with courage can we live to the fullest. 2020 was an extraordinary year. Confronted by the COVID-19 pandemic, China and Pakistan supported each other and took on the challenge in solidarity. The ironclad China-Pakistan friendship grew stronger as time went by. The China Pakistan Economic Corridor projects advanced steadily in difficult times, become a standard-bearer project of the Belt and Road Initiative in balancing pandemic prevention and project achievement. The handling capacity of the Gwadar Port has continued to rise and Afghanistan transit trade through the port has officially been launched. The Karakoram Highway Phase II upgrade project is fully open to traffic. The Lahore Orange Line project has been put into operation. The construction of Matiari-Lahore HVDC project was fully completed. A batch of green and clean energy projects, such as the Kohala and Azad Pattan hydropower plants have been substantially promoted. Development agreement for the Rashakai SEZ has been signed. The China-Pakistan Community of Shared Future has become closer and closer.

    Reviewing the past and looking to the future, we are confident to write a brilliant new chapter. The year 2021 is the 100th birthday of the Communist Party of China (CPC) and the 70th anniversary of the establishment of diplomatic relations between China and Pakistan. The 100-year journey of CPC surges forward with great momentum and China-Pakistan relationship has flourished in the past 70 years. Standing at a new historic point, China is willing to work together with Pakistan to further implement the consensus reached by the leaders of the two countries, connect the CPEC cooperation with the vision of the “Naya Pakistan”, promote the long-term development of the China-Pakistan All-weather Strategic Cooperative Partnership with love, dedication and commitment. Mohammad Ali Jinnah, the founding father of Pakistan said, “We are going through fire. The sunshine has yet to come.” Yes, Pakistan’s best days are ahead, China will stand with Pakistan firmly all the way.

    YOULIN magazine is dedicated to promoting cultural exchanges between China and Pakistan and is a window for Pakistani friends to learn about China, especially the Xinjiang Uygur Autonomous Region. It is hoped that with the joint efforts of China and Pakistan, YOULIN can listen more to the voices of readers in China and Pakistan, better play its role as a bridge to promote more effectively people-to-people bond.

    Last but not least, I would like to wish all the staff and readers of YOULIN a warm and prosper year in 2021.

    Nong Rong Ambassador Extraordinary and Plenipotentiary of
    The People’s Republic of China to the Islamic Republic of Pakistan
    January 2021