June 19, 2004

Surprises were in store for visitors at Karachi’s VM Gallery opening last week where an art installation based on a performance titled ‘Subliminal Voids’ contemplated the existence of the void. A text running along blue and purple gallery walls bore the message: ‘Void is Form is Void...’ The performance was seen in a sequence of six large, digital prints involving a sort of ‘life theatre’ experience.

It illustrated the exploration of the void undertaken by the creator of the installation, Abdullah Syed. Referring to ancient myths of alchemy, transmuting base metals into gold, the artist incorporated cast metal sculpture as an element of the installation, and with these pieces he initiated an investigation by inserting the metal plugs into his nose, eyes, ears and mouth. In the self-imposed shutting down of the senses Abdullah remained aware of his heart beating and the process of breathing. The void, he concluded, did not exist.

Abdullah Syed is not the first artist to puzzle over and explore the phenomena of the void. What is it? Does it actually exist? Anish Kapoor used sculpture as the subject of his research; Ad Reinhardt explored the mystery through painting. Abdullah quotes scientist Stephen Hawking, who contended ‘the space as void contains dark matter that cannot be seen but can be felt’. In the current exhibition Abdullah raises queries of his own giving as example an empty bowl as form for the void.

Installation, site-specific art and performance art are not new to Pakistan; since the ’80s there have been several memorable efforts by artists to take art out of the galleries and into public places. Karachi’s 13 million inhabitants are inured to unusual street sights by the constant presence of an urban pop art development that emerged out of street hoardings, painted vehicles and decorative objects connected with wedding rituals.

A few years ago, a group of off-stage performers from Britain visited Pakistan, courtesy the British Council, and put up an act in the street. The four performers, oddly dressed, created eccentric situations at a railway station: dropping suitcases, asking the way and so on. The entire performance was regarded equitably by passing crowds who appeared to regard the situation as the antics of a reasonably peculiar bunch of foreigners. And that indeed was the most beautiful aspect of the performance.

In ’96, a striking performance was put up by Uzma Durrani at a national art exhibition held in Islamabad, where she raised the issue of bride burning. There is no dearth of innovation but generally, a lack of sponsorship for such initiatives has meant that these are rare occurrences.

Karachi art enthusiasts may recall a previous exhibition by Abdullah Syed at Frere Hall in 2001, when an assemblage of spices wrapped in coloured cheesecloth packets hung from fine threads, drew the attention of the public and the media. He continued to explore the theme at an exhibition held at the Oklahoma Institute, USA, where he created a circle of seven spices, each wrapped in cloth dyed a matching colour, trailing threads as the centrepiece. The beautifully coloured and fragrant exhibit won him the statewide, much coveted, Installation Artist and Mixed Media Emerging Artist awards.

“My approach to art is direct and concrete, which allows me to respond spontaneously to my work. The subjects spring from my imagination, experience and research. Strings and threads bring tension, fragility and intimacy to my work,” says the artist.

A text based installation in the USA followed in 2003, documented as: ‘Caution: This May Be Art, Hostile Environment Series’. It was performed at the Stage Center, Oklahoma, and at The Central Museum of Art, Edmond, USA.

“The questions that pushed me to explore new possibilities in art were answered when I saw my work changing, integrating itself into an environment and altering viewers perceptions at the exhibit openings. The process of solving problems, finding answers, and the ephemeral aspects of installation, environment and performance art became my fascination and passion.”

Abdullah Syed has a wide variety of knowledge and experience in the fields of art and science to draw from. He has a BSc. (applied chemistry) from Karachi University (1995); BA in graphic design (2001) from the University of Central Oklahoma; a Masters in art and design education, from Oklahoma State University (2003); and post-graduate studies in education psychology. He has considerable experience as a designer and a teacher.

‘Subliminal Voids’ is a polished, sophisticated mixed-media installation, assimilating a variety of disciplines and leading audiences towards a novel adventure. Moving through the excitement of the innovation and entering the spirit of the artwork is an experience by which one may confront secret inner fears; the concept of ‘nothingness’, all senses gone and the rest infinite darkness...