KARACHI: Putting two different worlds side by side to create a visual impact is one thing. But to extract meaning out of two or more ostensibly diametrically opposed milieus is quite extraordinary. It requires a blend of heightened imagination and a certain level of technical prowess.

Artist Muhammad Ali has accomplished both feats with remarkable éclat at an exhibition of his latest series of artworks titled ‘A rainbow of your own’. The show commenced at the Canvas Art Gallery on Thursday evening.

The immediate effect that the exhibits have on the viewer is of the visual richness that Ali has achieved. His colours are full of life and his strokes are luxuriant. Despite the non-figurative nature of the artworks, his use of the medium (oil on canvas) is uninhibited, as if he is suggesting ‘to hell with the world, I’m going to paint what I feel like painting’. That’s the force that drives his creativity and makes the viewer peruse each of his painting with great care.

What’s the subject matter, then? The subject matter is bolder than the colours that Ali has employed. Is there a need to interpret it? Not at all. In fact, to construe his work would be doing injustice to it. So let’s just try and paraphrase it, if you like, for the sake of clarity.

Indian actor Ranveer Singh in a piece called ‘Immaculate ejection’ holding a glossy magazine with cherubs hovering over his head: classic art set against modern-day pop culture figure. The good thing about it is that it’s not done for the heck of it, for the sake of mindless, forced juxtaposition, but with a definite purpose that aims to highlight the diluted state of present-day life. What life? It’s for the viewer to decipher.

‘Beauty with a chance of meatballs’ has Bollywood icon Deepika Padukone as the centrepiece. Meatballs here are dealt with as something that’s part of daily routine, something perfunctory in nature. Be careful, Ali is challenging the viewer not to enjoy the artwork on the contextual level.

The most uncomplicated among the 11 exhibits is the image of military dictator Ziaul Haq titled ‘Apparition’. The fact that the flimsy piece of cloth over him gives away the artist’s intention of looking at the Zia rule as something that hasn’t gone away and stays (not returns) in society in the form of an apparition doesn’t compromise on the aesthetic value of the painting.

The one artwork with obvious symbolism (of fertility) is ‘Fruit chaat’. And my word, it did need obviousness. Otherwise the result would not have been fruitful!

The exhibition will continue till Nov 15.

Published in Dawn, November 7th, 2014