Experiences of daily life always have certain occasions that leave a deep impression and linger on in memory. Sometimes these happenings involuntarily surface in the subconscious mind and take control of an artist’s creative acumen. The ensuing artwork is the true representation of the events and episodes portraying soulful reality and also touchingly impressive.

Pursuing these objectives, Sadia Saleem, a seasoned ceramist and educationist, has recently exhibited her latest works at the Koel Gallery, Karachi, under the title ‘Time Lapse’. The exquisite works in ceramics and thought-provoking installations including video shows, narrating the artist’s response to indigenous craft, foreign media reporting and her overseas travels.

According to Saleem, the evolution of the exhibited pieces is attributed to her observations made on changing circumstances over the years. The show, she explains, is not based on a single theme because the creative reactions are based on diverse locations. Although her expression may appear personal, it addresses the alarming psychosocial realities that prevail in society — some visible and several obscure.

She deploys inverted conical forms suggesting the delicate equilibrium which is a critical component of any society. With all the turbulence around us, her compelling works portray the need to nurture fraternity and encourage forbearance and forgiveness. Fired at volcanic temperatures, her ceramics with the given shape, subtle glazes and most importantly — composition — give a powerful impact owing to the almost perfect display of wisdom and seasoned dexterity.

Using similar forms, the series of compositions titled ‘Mechanical cardiogram’, made of stained and glazed ceramics, represent her distinguished profile as a expressionist and emerge as her signature works. It is not just the fine composition of the conical structures but also the remarkable craftsmanship that has gone into the finished ceramics.

Another interesting piece of work is ‘Every home has an expiry date’, made of ceramics, thread, nests, wood and metal, represents the fleeting characteristic of life which changes with time. The abandoned nests of birds in Saleem’s composition portray life’s phenomenon of growth through instinctive awareness to survive.

The artist’s video projection titled ‘Travel advisory — Part II’ of 40 minutes duration, composed of handmade notes, newspapers and light boxes, originates from the perpetually intriguing worldwide news about Pakistan. Through this installation, Saleem addresses the need for realistic reporting by the international media. Consequently, she emphasises that the official travel advisory to the Western travellers who intend to visit Pakistan should be revisited to alleviate sensationalism.

In an ‘Untitled’ installation of ceramic hemispherical shapes and printed board, the artist portrays the Cape Town segregation based on racial discrimination. The artist’s post-apartheid personal interaction with South African society gave her the insight to translate her experiences into the ceramic medium. The core elements of her works emerge from President Thabo Mbeki’s speech delivered on the occasion of the adoption of the new South African constitution.

Saleem is an active proponent of the revival and sustenance of traditional ceramics and pottery, which according to her research based on visits to Hala, Nasarpur and Hyderabad, seems to be fading. However she lauds the efforts of AHAN (Aik Hunar Aik Nagar), a non-profit subsidiary of the Pakistan Industrial Development Corporation, which inculcates awareness of correct material and tooling techniques amongst clay artisans, potters and ceramists.

The artist has studied design with ceramics as a major at the Indus Valley School of Art and Architecture (IVS), Karachi. Saleem’s work has been exhibited nationally and internationally including Leeds Museum, UK, Queens Museum, NYC and Mohatta Palace Museum, Pakistan.