Our contemporary art world draws inspiration from the works of senior and highly experienced artists such as Meerza Ali. With wide ranging skills in sculpting and painting, Ali Sahib has applied himself extensively over four decades to keep the torch of heritage lit. An untiring though silent crusader, the artist has made tremendous contributions towards Pakistani art.

The Majmua Art Gallery, Karachi, has put together an exhibition of Ali’s 22 fresh oil-on-canvas paintings, titled, ‘Hazaaron Khwahishen Aisi Ke Har Khwahish Pay Dam Niklay’, curated by Mehreen Elahi. With years of experience in handling exhibitions, she states, “Ali Sahib’s enthusiasm for art is the driving force that makes him work incessantly and I am a witness to the unwavering devotion with which he sculpts and paints. He has never been daunted or distracted by prevalent art scenarios or the changing political climate.”

The artist’s current works revolve around the women of the East who are shown engrossed in their traditional way of life and recreation. He has focused on the attire and ambient décor to enhance the impact of the female figures. Ali Sahib resorts to lavish use of symbolism and ornamentation; this not only heightens the atmosphere, but also reveals the richness of the traditional artwork of the region.

The tactful addition of a variety of familiar elements that reinforce the artist’s concept, speak volumes about his versatile approach. The depiction of indigenous architecture and motifs, embellished women, water pots and birds, transform the paintings into cultural archives for posterity.

The domestic scenes with women playing musical instruments or relaxing with pets are reminiscent of an idealised version of rustic life. But there is deeper meaning to be found as well: the caged bird composed in certain canvases indicates the prevalent restrictions on females in the society, which compel them to stay indoors. Some of the females are portrayed as the village belles or princesses, who appear to be lost in daydreams and are perhaps living in the past.

The painting ‘Hum Hain Mushtaq Aur Wo Hain Bezaar’ depicts a female in blue coloured attire playing an Ik-tara, a traditional Sufi instrument, with four white pigeons and a background that is exquisitely textured. The woman’s contemplative posture and jovial attitude both substantiate the title, which says that she is happy but her lover is annoyed. ‘Aah Ka Kis Nay Asr Dekha Hai Teri’ is another painting with a deeply touched female, who looks upon two captive pigeons. The woman is perhaps wondering how sad the birds are in the cage and whether anybody can listen to their plaintive cries.

Executed in a style that is more fluid than his standard works, the painting ‘Kia Farz Hai Kay Sub Ko Milay Aik Sa Jawab’, Ali Sahib has shown some pigeons and two seated women whispering between themselves. The theme of this painting is that everyone cannot have the same answer to a common question. The moving composition and the boldly blended strokes, makes it a pleasant experience to watch this dynamic canvas.

With the ability to work with a variety of mediums, including bronze and fibreglass, Ali Sahib has created numerous relief and contoured artefacts that are visually strong and bear importance for their historical significance. His relief sculpture of 75 x 25 feet at the Pakistan Maritime Museum, Karachi; the 5 x 5 feet mural at the PAF Museum, Karachi, and the 10 feet mural at the Arts Council, Karachi, are some of his major achievements.