Drawing that is the medium and message

I shall start with a clichéd remark that speakers often use to cover up the time while they formulate a reasonable response to a comment that may appear irrelevant or out of scope to the main research question, but is usually fundamental, hence worth examining over and over again. So, to the question, what is the difference between drawing and painting? I shall say, "Thank you for asking this. This is a good question that concerns not only viewers but practitioners, historians and critics of art alike."

Drawing is a fundamental skill for artists, often taught before painting due to its simplicity and the minimal materials required. It can be a prerequisite to painting or a standalone art form, commonly used in commercial arts, such as architecture, graphic design and comics. However, many drawings are also considered fine art, like those by old masters like Leonardo da Vinci. Drawing and painting differ in medium, texture and scale. Paintings often feature colour, impasto and glazing, while drawings are typically monochromatic and smoother. Paintings can be larger, as they're usually on canvas or wood, whereas drawings are often on paper. Though it's possible to create large drawings, it's rare and expensive.

In the 19th century, when in the West, art history emerged as a distinct academic discipline, painting was considered superior to drawing, which was viewed as a craft. This mindset originated from practices in the 13th and 14th centuries, where drawing was seen as a stepping stone to becoming a painter. Drawing was essential to an artist's education, but the ultimate goal was to create paintings. Drawings were often studies or sketches for paintings or sculptures, not considered an art form in their own right. This hierarchy was likely due to the costly nature of painting, which required manual pigment crushing and a large studio with many employees to produce high-end works. Only the wealthy could afford paintings and only the best artists could create them.

Today, both media are considered equal, with painting remaining the dominant medium in the industry, read collectors and investors. However, amongst some discerning seekers, drawing may resonate as a more transparent yet intense business. I was drawn to the marvels of the craft after experiencing a show curated by Rahat Naveed Masud for IAF-19, with drawing as a significant creative genre. Initially into colours, Mian Ijazul Hassan's drawings, pages from his sketchbooks and Ali Azmat's large-scale portraits from the said show converted me to a "grayscale enthusiast". The scope of the works and application of the medium, in both cases, were far apart yet absolute in each instance.

Last week, Lahore witnessed two shows encompassing a similar, diverse approach towards drawing as a medium of expression and investigation - Collin David's drawings (OArt Space) and Jamil Baloch's Saggh - Patience (White Wall Gallery). David's drawings are spontaneous. They map the artist's first encounters with his subjects as if weighing, watching and observing them before a formal introduction and solemn negotiations with the picture space to place them. One often finds these conversations carried onto his canvases, where the initial dialogues are developed into more somber and ceremonial compositions of colour and form, embracing the principles of design. Unlike David's documentation of casual impressions and impromptu dialogue, Baloch's "portraits of stone", as they are called, are deliberate, meditative drawings of chosen boulders, pebbles and pieces of rock. These rocks exhibit both resistance and resilience simultaneously. The layering technique and endurance required to achieve the grayscale and exuberant texture echo the tedious process of natural rock formation. On the surface, the drawings demonstrate the power of contrast and nuance in monochrome art, while also being read as compelling statements on current socio-political situations. Through fluid lines and melting shades of gray graphite, David aims to create an illusion of form and space. The same lines and shades become sharp, aggressive and critical in the hands of Baloch. Empirical experience is essential to grasp the intricacies of the works; I encourage a visit.

Enjoy, Bano

December, 25