Defying logic and delving into the absurd to create a magnum opus is an act that requires rare wisdom and considerable gut, but with a commensurate attitude. Years of diligent practice with media ranging from paper to clay and wood to metal, has unleashed the intrinsic sculpting acumen of Munawar Ali Syed and has placed him on the art map as a fearless thinker.

Syed’s exhibition at the Canvas Gallery, Karachi, titled, ‘Bhook’ (meaning hunger in Urdu), a deliberate fusion of the words ‘book’ and ‘bhook’, is a profuse display of visual audacity that challenges the viewer with its multiple connotations and the artist’s skilful swashbuckling.

The exhibition is spread over three chapters: ‘98 forgotten books’, ‘Between the lines’ and ‘Kitabon mein jahan aur bhi hain’ (meaning ‘Books do contain other universes’), arranged in a logical route within the gallery. The first segment of ‘98 Forgotten books’ is comprised of nine sets of installations made from carved wood, brass wire, plastic and paint. Syed, with his indefatigable demeanour, systematically evolved each component of the assemblage through a contemplative process.

The carved figurines of lizards shown crawling on a pile of sculpted books depict disuse and symbolise the apathy that prevails in the society for acquiring knowledge. The indented impression of hands on the books indicates that they are being used merely as physical supports and are never opened. Owing to the restless urge to amass material gains, the artist emphasises, education and personal grooming seems to have been relegated.

As a consequence, the need to revive awareness to the rewards of a civilised society has become imperative, and should be vehemently promoted. The artist’s mindful work, beyond any doubt, has achieved this objective successfully.

The second segment, ‘Between the lines’, is a collection of six constructions emulating books that are exclusively in metal made from barbed wire, sheet metal and nails. These have been forged, twisted and formed with dabs of occasional solder.

The thorny appearance of the metal collection indeed radiates the ‘stay away’ signal, which the artist intends to attach to the books. The workmanship, nevertheless, certainly places them a notch higher on a connoisseur’s wish list. The use of negative space amidst cuspids of nails and the barbs narrates the poignant existence of man in an environment infested with hostility and injustice.

In ‘Kitabon mein jahan aur bhi hain’, the third segment, there are 13 artefacts through which Syed takes the viewer deeper into the folds of his inner mind by revealing obscure pages. The cover of these books, unlike the previous two segments, can be opened to see the images that dwell within; the artist’s visionary perception. These books have been dexterously made out of carved wood, paper, fibreglass and other materials.

The diversified use of trivial items reflects the artist’s vivid intuition to deploy them pertinently so as to achieve the desired character of the artefact. The book titled, ‘Urdu ki last kitab’ is a remarkable example in this context.

Amra Ali, the curator of the exhibition and Rizwanullah Khan, an art instructor and musician, have collectively captured a critical analysis of Syed’s work through their frequent interaction with the artist in the meticulously scripted catalogue, which has not only given a meaningful projection to the artist’s work but has also granted an exponential impetus to the entire show.