An introspective and yet exotic perspective was recently brought forth by Usman Alvi and Ufaq Altaf, two young artists who recently displayed their paintings at Lahore’s Color Gallery. Alvi is a 2010 graduate of the National College of Arts, Lahore while Ufaq graduated from Lahore College for Women’s University, in 2013.

Alvi has already made his mark as a gifted miniaturist and one recalls having been impressed by his work that was displayed some time earlier in a group show at Lahore’s Ejaz Gallery. Altaf has just made a significant appearance alongside Alvi and though she too has been trained as a miniaturist, the curators at the gallery chose to exhibit those paintings that had digressed from the conventional format of miniature art and had explored the realm of the contemporary mixed media painting.

Alvi’s apparent limitation in life is his inability to hear or talk, but this physical disability seems to have been compensated by his talent to paint with incredible sensitivity and detail. His paintings are a reflection of his unique world view where sound is imagined and the power of touch in combination with sight creates a picturesque world that is both real and imagined.

Animals and beautiful birds, especially peacocks, are a significant part of his discourse and he appears to revel in their presence. His miniatures are surreal yet almost tangible in their realism and the artist himself is invariably part of the narrative. Thus we see self-portraits in full or just through a partial depiction in conjunction with exotic birds and gorgeous fluffy cats or even a tiny baby hyena, wolf or frog. For Alvi, physical contact with animals inspires in him a world view that is colourful and exotic, yet reassuring in its simplicity and kinaesthetic appeal.

Altaf’s world view is darker and more convoluted, not only in its concept but also in its aesthetic approach. Her ‘source of inspiration’ is the mighty Mughal kings whom she appears to view with contempt rather than awe. Claiming to be ‘a Mughal’ herself, she is critical of their socio-political legacy and attempts to castigate them through her work.

The aesthetic discourse takes the form of innumerable tiny stencilled images derived from typical Mughal miniatures and seen from a distance, these appear like a swarm of insects that move in various geometric as well as undulating forms that also surround a larger, more defined motif that is typically ‘Islamic’ in its configuration. While black and white dominate in the works, golden forms also emerge in an almost grudging acknowledgment of the ‘golden age’ that was also a part of the Mughal legacy.

Altaf’s ideas and style of working are interesting but still in a state of flux and for her the challenge is to be able to synchronise a theme with techniques suitable for the discourse. The stencils work well for her, but at times the painted areas with their rough textural effects are a bit out of synch with the formality of the geometrical motifs incorporated in the paintings. Nonetheless, her viewpoint is full of promise for meaningful debate and further research,

Both Alvi and Altaf are young in years and experience, but are imbued with creative ability and potential. They have made a good beginning, and one looks forward to their progress both in terms of their painting and the patronage they deserve.