In the past two decades, the new generation of Pakistani artists has been more intrinsic, mainly because of terrifying blasts and political unrest. It is a proven fact that conceptual thinking erupts in chaotic situations whereas, the rapidly changing global perspective on art has also shaped contemporary patterns of visual art in our homeland. Even then, there are few who follow the tradition of adopting beautification with perfection. Ali Hammad is one such young painter who likes his paintings to exhibit established aesthetic principles with precision of skill.

Paintings of Hammad, hanging in artificial gallery lights and releasing high chiaroscuro towards the onlooker, remind one of the playful light of Georges de La Tour (1593-1652); the eminent French painter of the Baroque period. Immensely inspired by the Western style, and soaked in the 16th and 17th-century colour palette, the exhibition, In Pursuit of Light, mounted at the Ejaz Galleries, Lahore, was undoubtedly an eye catcher. At a time when abstract, semi-abstract or conceptually perceived art is usually practised preferably, which also occupies commercial and private galleries. At the same time, if one comes with a high quality conventional and realistic work, the doors are always open.

Hammad graduated from the National College of Arts (NCA) in 2006 and is now settled in Abu Dhabi. His interest in rendering light, and the objects under its cast, creates a lively ambiance within his canvas settings. In the recent show, the artist seems to be focusing on the still-life painting; a genre that has almost lost its standing in the contemporary and conceptual art of Pakistan. His strongest expertise is evident in his elaborate still-life compositions of ceramic or metallic pots and jars poised with fruit in various colours. The rustic texture of bronze and the grainy surface of the clay have been juxtaposed with the texture of oranges, peaches and grapes under theatrical light; creating dark shadows and vivid colour configuration. The artist has stepped further in showing spilt milk and water underneath tiny objects like grapes and a bronze bull. In his other frames, surface reflection is an additional feature that corresponds to the diversity of surfaces; ranging from glossy metals to matte-finished wood.

Ali Hammad presents the conventional genre of still life in his exhibition

However, the artist has also experimented with portraits of his family and friends, carrying self-obsessed and narcissistic patterns; a general practice for study of a realist painter. Hammad added few canvases, covering socio-cultural themes as well, like the one titled, ‘The Afghan rug seller’, which advocates the painter’s skill in capturing piercing light, casting on the rug seller from Afghanistan. The ‘Arabian camel’ is another painting that expresses the acculturation that the artist has been under, while living in the UAE. The ‘Head of an Afghan’, ‘Woman from Kazakhstan’, ‘The Greek girl’ and ‘Boy with a blue bandana’ are such paintings, which compensate the artist’s craving for rendering varied ethnicities and assorted facial details.

Hammad has preferred to experiment in the traditional style of realistic painting in conventional oil on canvas technique. This is one pivotal reason for his inclination towards the visual standards of the Post-Renaissance period in Europe. However, the passion and the urge of accepting difficult challenges, as depicting high chiaroscuro, is a virtue which can help him to evolve further — from the skilfulness of brush to the adroitness of mind.

Published in Dawn, Sunday Magazine, June 5th, 2016