Aamir Habib’s latest body of work at the Canvas Gallery in Karachi is an attempt to understand the complexities of war in the modern world —riddled with ulterior motives and massive cover-ups by those who stand to profit from waging it. In his show “Big Talk World” Habib talks about the bleak picture hidden beneath layers of pristine lies fed to us through mainstream and social media.

While such socio-political commentary is not uncommon in the art of the 21st century, Habib’s portrayal adds an exciting new element to the discussion and gives it a contemporary voice. The stylistic choices made in these works help bring into stark focus the manipulation of the media, with almost cartoon-like, two-dimensional drawings of rockets on acrylic sheets and LED lights giving a futuristic pop art appeal to the works.

This narrative is woven through a number of different pieces which portray idyllic landscapes with a clear sense of unattainability. They are overlaid with stark line drawings in LED lights, resembling battle plans, flight display systems for fighter planes, anatomies of complicated weapons systems, and a shooting game out of a retro Gameboy screen. These instantly cloak the landscapes in an ominous and desolate light, like a target in the scope of an unknown enemy.

Aamir Habib’s latest works are a socio-political commentary on the morality of war and the role of the media in creating an escapist society

These ‘utopias’ are not actual places but imaginary constructs that the artist has built; representing a peaceful haven we all crave and seek to create around us. This is problematic as it is but a fragile dream, and the threat of danger is never far. Global connectedness and free flow of information serve to desensitise us while, at the same time, this can be used to dehumanise the enemy and make war justifiable. War has become a profitable business for a selected few and the media plays its part in keeping the masses distracted and oblivious.

One of the most stunning pieces in the show is ‘To be Continued’, which can almost be seen as a visual conspiracy theory articulated through a fusion of sculpture and video installation. Here the body of Osama Bin Laden is seen hovering above a coffin filled with a raging sea. The title seems to question whether the news of his final destination under the sea is authentic in the absence of any visual evidence, or is there a sequel to this episode reserved for the future.

Another impactful piece, ‘Last Supper’ is immaculate in its execution, convincingly depicting 13 missiles being fired off a wooden table out of puffs of smoke clouds, while globs of molten gold drips beneath. The title is an obvious reference to the biblical tale of Jesus Christ’s last supper with his 12 disciples before his crucifixion, which has been depicted a number of times throughout art history. Habib talks about the inevitability of war as the eventual logical solution, especially for those who speak of morals and ethics, leading to that last supper where destructive decisions to end countless lives and wreak havoc on nations are made around peaceful dining tables for personal profits.

In a world where we are constantly bombarded with the latest catastrophes on our newsfeeds, it is perhaps understandable, that we have become desensitised. Such shows, while talking about socio-political issues, also make us think about our own place in this larger scheme of things. “Big Talk World” raises some pertinent questions about escapism and hidden truths, and we are left wondering whether the blame really lies with the enablers rather than the oppressors.

“Big Talk World” was on display at the Canvas Gallery, Karachi from November 15 to November 24, 2016

Published in Dawn, Sunday Magazine, January 1st, 2017