By F. Ali
Islamabad: A dynamic group exhibition that opened at Gallery 6 on May 24 captures the evolving voice of a new generation of Pakistani artists. Curated by Dr Arjumand Faisel, the show presents 14 recent graduates from the National College of Arts (NCA) Lahore and Rawalpindi, offering a powerful snapshot of emotional, social, and environmental reflections by a new generation of artists shaped by experimentation, technical rigor, and personal insight.
“These thesis exhibitions consistently generate interest among critics, curators, collectors, and enthusiasts. They offer a first glimpse into the minds of emerging artists, revealing trends, techniques, and thematic concerns that reflect both individual journeys and collective moods,” said Dr Faisel.
“This year’s cohort stands out for its fearless exploration of identity, memory, conflict, displacement, and ecological concerns,” he noted.
For many of these artists, art is not just a practice, but a reflection of lived realities and societal tensions. Sensitive to injustice and attuned to marginalised voices, they use diverse media—miniature painting, gouache, oxidised silver leaf, charcoal, and digital illustration—to address both personal and collective narratives.
Ms Yulia, a German diplomat, praised the artwork of the emerging artists and Dr Faisel for encouraging the young artists.
Reimagining miniature
Seven of the featured artists specialise in miniature painting, each pushing the boundaries of the tradition.
Aaila Zahra, based in Lahore, draws from classical miniature techniques to depict her home as an emotional landscape. In A World Within, rendered in gouache on archival paper, architecture and foliage become metaphors for memory and belonging.
Bakhtawar Naqvi reinterprets hashias—the decorative borders of traditional miniatures—as symbols of borders that both shelter and restrict. Her finely rendered gadrung on wasli meditates on how cultural and emotional boundaries shape identity.
Fatima Maqbool, from Abbottabad and now based in Islamabad, combines architectural forms with tea washes and gouache to examine memory and imagined histories. Works like Neel Ka Safar and Safar use fine layering and brushwork to explore the silent narratives of historical ruins and forgotten spaces.
Bareera Sajid’s richly detailed time-consuming gouache compositions explore nature’s cycles of resistance and renewal. Grounded in miniature techniques, her work balances traditional craftsmanship with contemporary themes of transformation and symmetry.
Khizra Tanvir, graduating in 2025, creates sequential compositions that evoke themes of nostalgia, displacement, and identity. Influenced by Japanese aesthetics, her work—including Strawberry Lunchbox—interlaces sentimental objects with tangled roots, reflecting the emotional residue of constant relocation.
Maheen Elahi, also from Lahore, constructs twilight dreamscapes in layered shades of blue. Her serene compositions blend imagination and memory, inviting introspection through imagery of trees, skies, and shadows.
Usama Ishaq examines identity and internal dialogue through layered figurative work. In All That I Am, multiple iterations of the self unfold across a single composition, reflecting the inner tensions of solitude and self-awareness. “Miniature painting allows us to capture unseen moments of introspection,” he said.
Beyond miniature: expanding art language
The remaining seven artists move beyond miniature into experimental media and conceptual practices.
Swarim Abid Hasan, from Karachi, uses oxidised silver leaf and tarnished surfaces to reflect on impermanence and transformation. In Blind to the Sun, portraits become meditations on decay and beauty. His public murals in Karachi and Lahore inform the spatial sensitivity of his studio practice.
Rameen Ahmed Rizvi blends pen-and-ink with digital illustration to tell intimate, emotionally charged stories. In A Slightly Cool April Morning at Model Park, everyday scenes become portals into familial memory and emotional resonance. Her work also addresses animal welfare and community narratives, including animation-based installations that explore generational memory.
Rafay Talpur, from Tando Jam, distils memories of childhood and madrassah life through minimalist drypoint and dot techniques. His stark prints, like Rainbow, reflect themes of fear, survival, and resilience with powerful restraint.
Syeda Mehreen Fatima constructs layered domestic vignettes using photo transfer, graphite, and collage. Her work critiques idealised notions of home, exposing its tensions as both refuge and restraint.
Hijab Rizwan, an Islamabad-based multidisciplinary artist, integrates photography, drawing, and printmaking to explore memory and transience. In A Tale of Two, charcoal’s tactile intensity captures layered recollections of her grandfather and the intimacy of personal history.
Zain Zahid, a self-taught artist turned NCA graduate, draws from the visual language of Lollywood poster art. His charcoal, oil, and acrylic works—such as Ronaq and Dhamaal—offer a satirical yet affectionate take on mass media and cultural nostalgia, blending pop-art flair with psychological nuance.
Muqeet Haider, from Islamabad, creates classically rooted figurative paintings that convey introspection and empathy. In What She Knows, quiet observation becomes a powerful channel for exploring human complexity and emotional stillness.
These artists are not only redefining form and content but are also responding to the complexities of their time with clarity and conviction. Whether grounded in tradition or pushing into new territory, each voice contributes to a larger narrative of change, introspection, and cultural engagement.
With this exhibition, Gallery 6 continues its vital role in fostering critical dialogue and supporting emerging talent in Pakistan’s contemporary art scene. The show will continue through May 30.
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