ISLAMABAD: An exhibition titled Distorted Paradigms was inaugurated at the Satrang Art Gallery by the Azeri ambassador, Ali Alizada, on Wednesday.

The contributing artists, Mamoona Riaz and Farrukh Adnan, shared artwork that was mutually inspired by impressions of spaces and locations. Although both artists used different mediums to portray their ideas, their work illustrated a shared bond that couldn’t go unnoticed.

“This exhibition presents multi-layered, exquisitely crafted pieces inspired by fragments, memories and impressions of locations that have impacted these two artists. The resulting works exude a delicacy which mirrors the fragility of the encounter they represent,” said Zahra Khan, the curator of Satrang Gallery.

Ms Riaz’s pieces leaned towards the concept of psycho-geographical art that conveyed her analysis of Islamabad and the effects of its geographical environment upon her emotions and conduct. She used mediums such as Gouache, watercolour and laser engravings to produce an astounding piece of multi-layered and complex artwork.

In ‘A Room of One’s Own’, Ms Riaz, while showcasing the various sectors of the capital, symbolically elaborates upon the class divide, varied economic diversity and architectural differences among the inhabitants of Islamabad.

Through symbolism, her work seeks to move past the obvious and highlight subjectivity over objectivity.

Similarly, her piece ‘Like Clockwork’ attempts to convey a sense of monumental timelessness as she explores the geometrical process and presents a revised version of conventional art.

“This piece is derived from one of the Mughal floral manuscripts called Shamsa, which means ‘oneness’ where everything circles towards one thing. I have used a clock to demonstrate Shamsa – this city is like a machine, a clock, a sacred manuscript. Islamabad is placed under the clock, so if you see it from one angle it appears fine and from another angle, it distorts,” explained Ms Riaz.

On the other hand, Mr Adnan’s artwork focused entirely on his hometown, Talumba in South Punjab.

He has illustrated his personal impressions and experiences in an attempt to signify the historical significance of Talumba. Inspired by Neo-Impressionism, his work utilises a rigorous methodology of painting countless dots, with ink and pen, shedding light upon theories about the optical and emotional effects of magnified and distant visuals.

Although the distorted forms and contrived colours don’t portray a literal image of Talumba, his work is rather an attempt to convey the intensity of his visual and imaginative attachment to the place.

“My art is an attempt to connect to Talumba. Although it has its historical significance, I see it as a place with immense potential and with my work, I want to draw attention to a space that signifies both a time and age for me,” said Mr Adnan.

Published in Dawn, November 2nd, 2017