Promoting a ‘soft image’ of Pakistan has become a cliché. However, it is indeed important that positive endeavour also gets its fair share of applause to reinforce our faith in the fact that, despite negative happenings, there is so much to celebrate about. The artists of our nation have, since long, been providing us with reasons for celebration, deliberation and hope for the future.

A recent group show at Lahore’s Ejaz Gallery was specifically geared towards the theme of projecting “a softer image of Pakistan as a peaceful nation.” Titled “I Live Pakistan” and curated by R.M. Naeem and Irfan Gul Dahiri, it brought together a selection of artists spanning three generations of visual artists of the country. It was suggested to the artists to create one artwork using the image of the Pakistani flag as a departure point. The senior most artist in this show was Ahmed Khan, now famous for his jewel-like calligraphic renderings. Khan’s piece for this exhibition was in contrast to his intricate style and almost prosaic in its simplicity with its shimmering poster-like image of our flag, and “I love Pakistan” inscribed on it.

Conversely, the youngest participant, Ahsan Javed, had contributed a large, colourful canvas with the realistic imagery of numerous colourful flags carefully folded and lying side by side. Only careful scrutiny would make one see the flag of Pakistan within this conglomeration of colour and pattern. It seemed to point out to a universal approach to nationhood, embracing humanity in all its hues and shades.

The image of the Pakistani flag is used as a departure point to project a softer reflection of the country

A total of 26 artists participated, including, besides the aforementioned, Noor Jehan Bilgrami, Rahat Naveed Masud, Meher Afroze, Afshar Malik, Masood A Khan, R.M. Naeem, Abdul Jabbar Gul, Mughees Riaz, Ali Azmat, Ahsan Jamal, Munawar Ali Syed, Sadaf Naeem, Mudassar Manzoor, Irfan Gul Dahiri, Shibli Muneer, Akif Suri, Sajid Khan, Amra Khan, Abid Aslam, Maria Khan, Dua Abbass, Ghulam Mohammed, Ehsan Memon and Hamid Ali Hanbal.

Amongst this constellation of artists, Bilgrami’s collage made an impact with its minimalistic palette, and its focus on nostalgia, with images and newspaper texts from the time of Pakistan’s creation in 1947. Rahat Naveed’s oil painting was a treat for the senses, with the palpable imagery of assorted fruits and people, but also poignant in its message as one sees a wounded pigeon in the backdrop.

R.M. Naeem’s image of a book wrapped in a white lace covering from which one could see the green flag with a yellowing moon and crescent was a realistic, but satirical piece. Titled with a question mark —‘Siraate-i Mustaqeem?’ — the ramifications of its meanings were left to the viewer to decipher. Abid Aslam’s mixed-media work made an impact by its novelty and Afshar Malik’s black and white wire relief print was both symbolic and sophisticated.

The show did bring together a variety of artists and techniques. But more room is needed for further discourse and perspectives on what it means to be a Pakistani in today’s world.

The exhibition was opened at Ejaz Gallery Lahore on February 3 to February11, 2017.

Published in Dawn, EOS, February 26th, 2017