A perspective is always subjective in nature. A singular opinion, a belief, a point of view, varies on the account of the individuals personal experiences. ‘Super Duper Perspective’, a group show at Koel Gallery brings together a series of perspectives from wildly differing artists from the Indus Valley School of Art and Architecture in Karachi and the National College of Art in Lahore. Curated by Muhammad Zeeshan, the exhibition forms a vibrant, multifaceted experience where different emotions, thoughts and ideas are evocatively juxtaposed.
Zoila Solomon juxtaposes two harshly contrasting aesthetic sensibilities. The artist combines imagery from traditional renaissance paintings, sacred within the art world, with images of contemporary figures. Controversial political figures nestle between angels while flamboyant television icons pose apathetically, revered by the religious figures at their feet. The tongue in cheek narratives create a strange, humorous effect, sarcastically reflective of the icons and images worshipped in both historical and contemporary narratives.
Razin Rubin relives the comforting scenarios she had shared with her family, a time where stories were exchanged, feelings were expressed and emotions were released. In order to reawaken those consoling customs and habits, the artist documents herself in intimate, homely interiors in remembrance of her cherished memories as well as a means of distraction. Rubin’s work is poignantly created and carries poetic emotion.
Ayesha Naveed carries out an intimate surveillance within the secret space of her home. As a child, the artist trailed her father, with the intention to scrutinize and imitate surreptitiously. The sofa, a casual space for relaxation, became the focal point for research, as it was here where the artist’s father spent vast amounts of time. It is in places of comfort where we can truly unfurl and act as our authentic selves. Naveed examines the intimately mundane activities carried out on the sofa as performances of solitude and self reflection. In addition to the action, the artist focused on the textures and colors within the experience. Her work, meticulously rendered in oil, is meditative and emotional.
In contrast, Noshad Ali Khan works in complete abstraction. In a frenzied, slapdash world, bursting with color and motion, the artist attempts to reform the way he comprehends life. In an attempt to instill a sense of order and discipline in what he emotionally and visually interprets, the artist seeks out the grids, skeletons and underlying patterns of his frantically muddled existence. Within his painstaking ink paintings, Khan creates a comforting, mathematical symmetry, which may allow the quest for meaning to be approached with more ease.
Jovita Alvares conducts a subjective investigation of space within Karachi Cantonment, an area where the artist has resided all her life. Alvares chooses to focus on the fleeting actions and encounters in the area, which were observed on a daily basis, captivated by the ephemeral nature of these happenings. These observations led to a nostalgic recollection of the artist’s childhood anecdotes and therefore resulted in a deeper exploration of space. This particular body of work whimsically revolves around a park, a minute sanctuary lush with foliage, within a grey, industrial city.
Saddam Murad investigates his subjects through intensely colored oil paintings. Rendered in a woebegone palette, the enigmatic figures evoke a wistful melancholy. The representational elements of the work fuse with abstraction and create a unique aesthetic language. Some faceless, some with blurred limbs, the bodies possess a distorted, otherworldly quality that is both disturbing and enchanting.
In the exhibition, a dizzying variety of visual styles are witnessed. Romantic Renaissance imagery stands in place near strange grids and patterns. A curious glimpse of Hillary Clinton is caught. The artists’ voices come together with a humorous twist, creating a comical, yet contemplative experience.