‘I speak, you hear me, therefore we are’ is an expression of art that includes the work of Ali Khan, Haider Ali Jan, Naila Mahmood, Nasra Omar and Paul Mehdi Rizvi that unveiled at Studio 7 in Karachi.
Ali Khan’s work envisages and formulates different forms of visual illustration. The mix of introspection, found- materials and reflections on human communication have been shown in an extreme abstraction of the human head, and combined with elements that have sonic and visual properties including bells and light- bulbs.
Haider Ali Jan’s work refers to images in popular culture including photo-journalism, cinema and television. Through such media as digital animation, projections and paintings, he re-contextualizes and distills these iconic images to their most essential form. His work communicates the symbolic power these images have on the collective psyche and underscores a keen understanding of how images shape experiences and memory of events. By working with found images, videos and clippings, he molds the narrative to generate another layer of meaning by hiding, skipping and reinforcing elements by choice, which alters the intent of the original. He creates a layer on top of an already existing layer of film or a photograph. In the transformation of a photographic image to a drawing, there is a dramatic reduction of visual information, but large symbolic image content. The artist professes the power of graphic symbols through animations and drawings that he makes. Naila Mahmood and Nasra Omar’s work revolves around the complexities of urban spaces. In their work, weaving, dying and printing techniques are combined with new synergy to create interesting art work.
Paul Mehdi Rizvi in his work ‘Sarfaroshi Ki Tammanna’ uses a famous patriotic poem written in Urdu by Bismil Azimabadi of Patna in 1921. In his work he raids the interior of the poem and shifts the locale to a specifically aesthetic context to cross the boundaries of canonical artist’s materials, and to explore and demonstrate the link between supposedly non-verbal expression and the written word. He extends the narrow remit of expression and initiates a discourse in which objectification is a stronger term and a methodology that can be deployed to establish a visual illustration that experiments with putting up a widened range of components for the viewer to experience.
Roohi Ahmed in her work takes the course of change, rebirth and beginning again in a different way. She works on the philosophy of exploring new thresholds to cross, such as adolescence, maturity and old age.