More than materialism: Debunking plastic promises
Exhibition at Khaas Art Gallery paints the perils of a consumerist culture.
All-out opulence and escape, at opposing ends of the same spectrum. PHOTO: EXPRESS
ISLAMABAD:
Living in a world reigned by the free market economy, one is inadvertently exposed to the spirit of consumerism. Where most choose to glorify a bought life of luxury, some attempt to break free of this paradigm.
In the same vein, a departure from such conventions was evinced in an exhibition titled “Dual Dynamic” by the two contemporary artists Minaa Mohsin and Samina Islam at the Khaas Art Gallery. The works displayed are a social commentary of sorts on the paradox of materialism and escapism.
While Mohsin’s work comments on the extravagant lifestyle of the urban elite, Islam illustrates the act of sleeping and dreaming as a way of seeking redemption from the realities one does not wish to confront in their everyday life.
While the former talks about the clutter of conspicuous consumption she is surrounded by in a literal sense, the latter cuts through the superfluous layers down to where people sleep and dream on a human level. Essentially, the two artists are coming from the same place, discerning socio-economic patterns and interpreting them differently.
“Visually, the two sets of paintings are very different. While Mohsin’s work is very elaborate with many different icons and things happening, in Islam’s work you see empty spaces- the palate is muted and soothing,” said Alia Bilgrami, the gallery curator. Due to the contrasting yet oddly similar nature of the artists’ works, it was a challenge to showcase them together, she added.
Mohsin’s work portrays excess as “something beautiful yet potentially repulsive”. This essence shines through in the bored expression of women getting groomed at a swanky salon, another woman sprawled on a couch with a cat or two friends chatting over hi-tea in a heavily-ornamented drawing room. Amid the psychedelic patterns and a retro palette, the artist uses symbols such as peacock feathers, animal prints and wallpapers to drive home her point.
The stuffed canvas imparts a jarring effect, perhaps as intended by the artist. She uses mixed media, including embossed fabric and wallpaper to make a bold statement.
Meanwhile, Islam’s canvases exude a light, minimalist effect as she depicts women sleeping, sleepwalking or even floating, all things pertaining to the sweet abandon of slumber. Perhaps, it is the liberty to dream and fantasize that frees human beings of their complexes and prejudices. “Sleep is that moment where every human being comes down to the same level. This is when we do not have our guards up against exterior influences and the outside world. We create our own fantasies, shutting everything out, living in our self-created, secure reality. Not wanting to accept at times the bittersweet truth, we entrap ourselves in a deep slumber,” said Islam.
For Islam, whose figurines are painted in oil, the interplay of composition and a limited palette is what makes her work both exciting and challenging.
The exhibition is scheduled to run until February 15.
Published in The Express Tribune, February 7th, 2014.
Living in a world reigned by the free market economy, one is inadvertently exposed to the spirit of consumerism. Where most choose to glorify a bought life of luxury, some attempt to break free of this paradigm.
In the same vein, a departure from such conventions was evinced in an exhibition titled “Dual Dynamic” by the two contemporary artists Minaa Mohsin and Samina Islam at the Khaas Art Gallery. The works displayed are a social commentary of sorts on the paradox of materialism and escapism.
While Mohsin’s work comments on the extravagant lifestyle of the urban elite, Islam illustrates the act of sleeping and dreaming as a way of seeking redemption from the realities one does not wish to confront in their everyday life.
While the former talks about the clutter of conspicuous consumption she is surrounded by in a literal sense, the latter cuts through the superfluous layers down to where people sleep and dream on a human level. Essentially, the two artists are coming from the same place, discerning socio-economic patterns and interpreting them differently.
“Visually, the two sets of paintings are very different. While Mohsin’s work is very elaborate with many different icons and things happening, in Islam’s work you see empty spaces- the palate is muted and soothing,” said Alia Bilgrami, the gallery curator. Due to the contrasting yet oddly similar nature of the artists’ works, it was a challenge to showcase them together, she added.
Mohsin’s work portrays excess as “something beautiful yet potentially repulsive”. This essence shines through in the bored expression of women getting groomed at a swanky salon, another woman sprawled on a couch with a cat or two friends chatting over hi-tea in a heavily-ornamented drawing room. Amid the psychedelic patterns and a retro palette, the artist uses symbols such as peacock feathers, animal prints and wallpapers to drive home her point.
The stuffed canvas imparts a jarring effect, perhaps as intended by the artist. She uses mixed media, including embossed fabric and wallpaper to make a bold statement.
Meanwhile, Islam’s canvases exude a light, minimalist effect as she depicts women sleeping, sleepwalking or even floating, all things pertaining to the sweet abandon of slumber. Perhaps, it is the liberty to dream and fantasize that frees human beings of their complexes and prejudices. “Sleep is that moment where every human being comes down to the same level. This is when we do not have our guards up against exterior influences and the outside world. We create our own fantasies, shutting everything out, living in our self-created, secure reality. Not wanting to accept at times the bittersweet truth, we entrap ourselves in a deep slumber,” said Islam.
For Islam, whose figurines are painted in oil, the interplay of composition and a limited palette is what makes her work both exciting and challenging.
The exhibition is scheduled to run until February 15.
Published in The Express Tribune, February 7th, 2014.