Written by: Tehreem Mela
Posted on: February 11, 2025 | 
| 中文
Untitled 4 by Shahid Mirza
Curated by Ali Arshad, ‘Notes on a Miscellaneous Megrim’ was held at HAAM Gallery, exhibiting artworks by Ali Arshad, Khaleeq ur Rehman, Shahid Mirza and Zoona Khan Kundi. A conversation with artist, sculptor, and urologist Khaleeq ur Rehman frames my review of the exhibition. The pairing of experienced, prolific artists like Rehman and Mirza with younger, contemporary artists is intriguing. Yet the gallery itself, located in an upscale, highly commercial area, initially feels intimidating, almost as if framing the artworks as commodities for an elite audience. Such spaces risk presenting art as something sanitized and accessible only to a privileged few.
Cat Under The Tree by Khaleeq ur Rehman
Despite this, I was curious about how Ali Arshad curates exhibitions. Having attended The Roadside exhibitions, where spatial confrontations make art more accessible, I was eager to see if the roadside experience could activate an elite gallery, allowing viewers to genuinely leave with a sense of whimsy, letting loose from the rigid hierarchies that confine both the wealthy and the marginalized in Pakistan.
In our conversation, Khaleeq ur Rehman spoke about his love for stone. He sources his sculpting stone from Kashmir and Gilgit-Baltistan. He describes the different personalities of the stones: Phyllite and Schist. He states, “Stone becomes sculpture when it gets elasticity.” If the stone lacks elasticity, it appears completely flat. “I work on the stone until it has soul or music. When I see it, I [should] feel something.” Rehman highlights Kant’s concept of “purposiveness without a purpose” as central to his process. He equates his visits to Lahore Museum’s Gandhara sculpture section with visiting old friends: “If you have this love, it is the best thing that has happened to you.” There is a playfulness in his sculptures; the marble inlay into the stone sculptures is extremely tedious and skillful work, yet the inlay traces out arbitrary lines on the rock, even forming a perfectly rounded football inlaid with marble. Rehman’s background as a painter is reflected in his stonework. His sculptures have a compositional quality, appearing almost as objects within a painting, with visible strokes. The sculptures retain marks of the tools - cuts, scrapes and rough textures, offering a raw glimpse into the sculptor’s interdisciplinary practice.
Lonely by Khaleeq ur Rehman
The ‘Grey Flower’ hints at Gandharan sculptures. A flower sculpted in this kind of rock is an incredible feat, serving as a soft reminder of the soul and love Rehman pours into his practice. The circular plate he has carved refers to Gandhara toilet trays, resembling historical objects in a contemporary world. His perception of materials and his practice, deeply rooted in South Asian artistic traditions, was beautiful to witness. His works also include Japanese ink paintings that illustrate a world of water and black ink. The contrast between working with such different mediums, water and ink versus stone, is quite a feat and an inspiration.
Zoona Khan Kundi’s work, utilizing glass, light, wood and mirror, presents another study in whimsy at this gallery. Kundi made the gallery her own home. She states that she tries to bring not only herself to a gallery but also a few things that remind her of who she is. The flowers at the center of her interactive piece, which incorporates light, movement and refraction, are ones she has never seen elsewhere in Lahore. She has named them “rosy bells.” Miraculously, one of these dried flowers sprouted a new bulb during the exhibition, despite being preserved for over a year and a half. This unexpected regeneration became part of the piece’s magic, a reminder of nature’s resilience and its surprises.
All Flourishing is Mutual by Zoona Khan Kundi
Mathematics plays a significant role in Kundi’s work. Every element, whether it is light, shadow and reflection, is carefully calculated to create a kaleidoscopic image resembling an eye. The constant trickle of water, moving light and the sprouting bulb evoke hope, renewed strength, belief in the natural and scientific world, and a sense of awe and wonder. Visitors are invited to interact with the piece, moving through reflections and casting shadows with their hands. Ali Arshad’s work draws from post-structuralist philosophy, particularly the idea that language is the problem of all philosophies. In his series of drawings, he describes his process as “making an impression of language.” His pieces range in style, some with jagged frames, some on marble, others incorporating felt and pattern.
Jui by Ali Arshad
One of his standout works is a Pyrite sculpture paired with a goldfish bowl. This combination of materials and imagery feels like a playful break from gallery tradition. It disrupts the polished, sanitized nature of the space, bringing an organic, almost mischievous energy to the exhibition. His manipulation of Polaroid film is striking. I am particularly interested in how he transforms something so ordinary into a collage and painting, juxtaposed with a large ornate frame in a piece titled ‘Simile.’
References to folklore and a running theme of black and white thread through the exhibition. In his long and prolific practice, Shahid Mirza has worked with images from the indigenous cultures of Harappa, Mohenjodaro and Mehrgarh. In an interview, he stated, “The images from Mehrgarh are my new love affair.” The terracotta female figurines from the Mehrgarh Civilization recall the famous Dancing Girl from Mohenjodaro. Painted into images that almost come to life, the figurines seem to accost the viewer. Sometimes they appear in black and white paintings, yet their faces remain elusive, hinting at cubist influences. The works also evoke Kal Bhairab statues in Nepal, denoting both reverence and a study of ancient South Asian sculptures. Mirza’s application of paint is impeccable, his strokes intentional and definitive, almost impressionistic.
Untitled 7 by Shahid Mirza
The moods of his images vary, as some are all red, some entirely blue and aquamarine, somehow reflecting the contemporary woman of Pakistan. One image of women huddled together in fear, serves as a stark reminder that the reverence these historical images deserve is often lost in the present day.
Galleries often bore me. More often than not, they leave me with nothing but a headache. But this exhibition was different. It invited viewers into the artists’ processes, encouraged engagement and fostered genuine curiosity. It was a space where play and whimsy became tools for exploration, a rare and welcome change.
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