Using human body as an element of design

Colin David's paintings, far from vulgar, use the female figure to explore form and design, transcending censorship.

Listen to article

Dear Mr Colin David,

Allow me to present a problem I often face while introducing you to art enthusiasts and other seekers of knowledge. Though, I feel proud that I have successfully worked out a way around your paintings to analyse them as design assignments rather than merely the images of women.

Since I hardly find them indecent, offensive or unethical to be displayed publicly, I also use them to explain the notions of 'nude' and 'naked' in art - appreciation of beauty in first instance and stripped bare to show ruthless reality in the second. Your works also make a good example of the inherent politics in visual cultures.

When we met in the early 90s, you were an established artist, admired at least amongst your peers who took us; the baffled youth newly entwined with the art world, for support against the violent vandalism you faced. Some self-acclaimed militia in the name of Islam did not approve of you painting female figures.

They attacked your home, destroyed the paintings and harassed the guests. I will not rant and curse General Zia for all the nonsense that prevailed during and after his Martial Law. Perhaps he was doing what was needed to be done to justify Uncle Sam's dollars over rubles. Let's not comment on that as I am no political scientist nor do I intend to invite the rage of 'black vigoes' by accusing their paiti band bhai of setting the trend of manipulating democracy, politicising religion and bringing war, terrorism and chaos onto the region.

Not to speak of losing self-respect and turning the nation into clueless vagabonds cutting their nose to spite the faces. I am referring to the prevailing mayhem in Pakistani institutions be it judiciary, establishment or parliament.

I shall stop rambling political frustration and focus on your paintings as they remind me of a person who was utterly composed and economical with words and expressions. Perhaps you used to resolve all the pandemonium on your canvas. Your friends say that you preferred painting female figures, especially after the said incident as a natural response to imposed censorship. As a matter of fact, your figural paintings are not representations or portraits of personalities. They are studies of form focusing on its configuration and arrangement within a defined picture space. Expressions and gestures of sitters are not of much concern to you. You use human body as an element of design. The body accents emphasis and creates interest in the painting as it balances the overall composition and creates perfect visual harmony. In this way, the female figure can swap an ordinary bottle in your still-life painting. The blocked shapes in carefully selected colours, stripes and checkered enhance the design-like quality of your paintings. Design refers to something that is intentionally created by a thinking agent. It also denotes to the innate nature of something which is planned and executed with a purpose. Your purpose is not to objectify the female figure but to situate it within the realms of physical, earthly realities.

On the question of nudity, I am convinced that your painted women, in clothes or without them, are not vulgar. If unclothed, the bodies are not jeopardised. Frankly, they do not have the 'aesthetic' appeal of Venus de Milo or Bernini's Daphne and Proserpina to name some sensuous representations of female body in art.

Today, with easy access to all kinds of pictures and ideas, the small image of a female sitting all by herself next to a window or a faceless woman with a basket full of oranges should not invoke obscenity. Well, of course unless the viewer is compelled to feel stimulated just to prove his 'upright physical health' as explained recently by a visiting religious scholar.

Mental and psychological obsession with sexuality as a disease is out-of-syllabus question for most custodians of faith and proponents of societal norms. Throughout history artists have used human figure, male and female, to appreciate God's creative excellence. Often these representations signify devotion and become the vehicle towards spirituality or serve as the carrier of mystic ideals.

Best, Bano

Nov, 24