Written by: Varda Nisar
Posted on: July 17, 2018 | 
| 中文
Hussain Chandio
What is the most wanted narrative? What is the thing that we desire the most? And how does it manifest itself, after it has been achieved? If one is to go by the curatorial concept, then the manifestation is present in our surroundings, in our memories and how we recall them. There is also the failure; such as when one is left behind by their dreams, or perhaps when they countdown the seconds to a change of fate. These manifestations and interpretations of the most wanted narrative for ourselves, is presented in the current show at Nomad Art Gallery titled “Countdown: The most wanted Narrative”. Thirty-six uniquely diverse artworks, by eight artists have been presented, allowing for a multiplicity of voices and interpretations.
Tayyaba Aziz’s protagonist is a whitish skinned woman. In the work titled “Unrested Soul” she seems to be disappearing in the canvas, as the background takes over her, while in “Trapped in Wonderland” she seems to be stuck, as a clock with no time looms above her. Her preference for ochre, and somber colors, give the works a humble and slightly morose vibe, indicative of a waiting for better times.
In Maham Khan’s work titled, “Nazakat,” the state of waiting is again presented, depicted through a sun that is stationary and hardly providing any clue of whether it is rising or setting. The woman in the foreground is equally unforthcoming in providing no hints. Overall, however, while the work fits the theme, it lacks details, since the woman’s body is devoid of any expression of age or experience, and thus it is unable to present a complete story.
On the other hand, Arsalan Naqvi’s stories are in his signature style, ensuring that his work stands out. You can tell as soon as you enter the room where his work is. His stories are always about the dreams that have been lost to poverty on the streets, and yet they have within them a humanity that is presented through the most simplistic gestures. For example, in one work a child is holding a dog, and therefore making a much needed human connection; a connection which epitomizes us as “social creatures.” Presented against a backdrop of newspapers pasted on canvas, these works act as a political and social commentary on the harsh world we inhabit.
For Ahmed Habib, the most wanted narrative appears to be the cities of rural Punjab. Combined with his personal story, since he spent his early years in Oman, the works reveal a nostalgia and desire to return home. The rooftops and houses take on a colorful form, as they would in someone’s memory while they long for home. They are not photorealistic, but effectively convey the reminiscing of an individual, which often makes the past appear better and happier.
In Samina Ali Akhter’s work too, there appears to be a distortion of the past, though the past is quite literally a distant past. Her works capture the lives of the Mughal courts, which form the background and appear from behind a collage of the overlapping words and textures. The red in “Tarekh 1” connects one’s interpretation immediately with the bloodlines embedded in this half of history.
Hussain Chandio’s work gives one an ethereal feeling as they remember a scene from the past and appear to be looking at it from above, thus presenting one with both a feeling of disconnect and a connection that existed once. The works are brilliantly colorful, filled with scenes of celebrations and festivities, with the women folk dancing and the men busy with the Dhols. The swirling women, and their bangles, the dupattas and the turbans, set against a white background, come across as self-contained instances of pure happiness and joy.
Fizza Siddique’s series of “Obnoxious Displacement,” is very much in sync with the current day conversations about migration and displacement. The three part series presents different moods, and the story of a child and an adult, as they pass through various scenes, captured in various colors and with a multitude of techniques. The repetition of the figures is also a socio-political commentary, effectively able to convey a feeling of loss to the viewer.
Zia Zaidi’s work is the only one which leans toward the abstract side. The works titled, “Life is beautiful,” burst out in colors, as if a celebration of life itself.
In my opinion, a weakness of the show was the way in which it has been presented, since the sequence differs from the list provided, so one ends up constantly referring to the list to find the name of the artist and the work. However, there is no denying that the curatorial concept is quite strong, and has been presented through a diverse group of artists and a range of works which do justice to it.
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