KARACHI: When history is used as a backdrop for the expression of the self, the end product leaves a long lasting impression. And what better way than to use the exotic monarchical ancestry of the subcontinent as a medium of expression in furniture, which is rampantly employed in Sonia Rehman Qureshi’s collection of hand-crafted and hand-painted antique furniture, displayed at the Frere Hall on Thursday.

Sonia is aware of the significance of the theme she has picked. According to her, the collection “tells its own story about where it has been and who it has shared time with. … [it is an] interpretation of stories as they continue their journey from generation to generation”.

Her collection includes chests, dining tables and chairs with display cabinets and multiple interpretations on seating arrangements. Each piece has been painstakingly worked on, each angle given equal importance so that there is no compromise on the quality of the piece.

The venue was a perfect complement to highlight the rich heritage that the exhibition focuses on. Beautifully lit with a regal aura around it, the Frere Hall was more like an ode to the cultural linkages of each piece, and though the exhibition inside did come off a bit cluttered and hotchpotch with no apparent cohesion between the pieces displayed together, this did not have a jarring affect.

This collection of 19th and 20th century furniture not only embodies unique subcontinental artistry, but also infuses within it European artistic influences to make it more contemporary. The antique Victorian Teak Knee Hole Desk dates from around the 1880s and is said to have been constructed with Diyar wood, with the tabletop stained with different shades of brown to depict a forlorn forest. Her settees use spiral art deco, much in line with tradition, yet with a distinct combination of bright upholstery to make them more modern.The Jaali Settee uses ice pink leather for the seat, in contrast to the conservative dark-brown jaali as the backrest.

Sonia’s strengths were best visible in her seating collection, especially her chairs. From the Malang chairs that were delightfully colourful and brought a more contemporary flavour, to the more conservative Victorian throne chair, made from Burma teak and upholstered in dark-brown cowhide, inspired by the 19th century Gothic Revival that saw an increase in more picturesque and romantic architecture. She plays with an eclectic range of inspirations. Another quintessential subcontinental theme chair was the Hunting Chair, with detailing in the backrest of a Mughal hunting scene.

The significance of the art of restoring pieces of furniture is much neglected and requires a level of competence, an experienced array of craftsmen, and of course a vision. To allow a piece of furniture to shine within its own dimensions, physical and metaphysical, requires patience and a level of honesty that not all can conjure. And Sonia, through this exhibit, proves that she possesses all that, and more. Each piece is a sense of celebration of the uniformity and diversity that the country has enjoyed over centuries, under successive dynasties and she aims to give as many of them the due respect they deserve. It is widely known that Sonia takes a keen interest in restoring each interior. What makes it desirable is the observation that each piece has a practicality to it. Yes, each can be used not merely to exhibit and admire. It will definitely stand out as a result of its mastered craftsmanship, yet still be used in a home or office setting. And as was overheard at the exhibit, these pieces are a means to invest and pass on, generation to generation.

The exhibition will continue till Sept 28.

Published in Dawn, September 26th, 2014