In his essay ‘The Eighteenth Brumaire of Louis Napoleon’, Karl Marx improves on G.W.F. Hegel’s quote, “History repeats itself” by affixing, ‘the first time as tragedy, the second time as farce.’ Marx also provides examples in support of his addition, such as that of Napoleon and Napoleon III, both of whom corrupted French revolutions during their reigns. The destruction reflected in either’s reign, as was the case with countless others throughout history, is pertinently reverberated in a recent exhibition at the Canvas Gallery in Karachi. The show titled ‘What May Lie Ahead’ revealed a new body of work by internationally acclaimed artist Adeela Suleman. Living and working in Karachi, Suleman has participated in several exhibitions across the globe while working as Head of the Fine Art Department at the Indus Valley School of Art and Architecture and Director of Vasl Artists’ Association.

Suleman’s oeuvre has always been an unhindered force with its unmatchable quality. Her work exudes perfection right unto its minutest detail, a factor she emphasises on even when teaching her students. With her new venture into woodcarving, Suleman shows kinship not only with the material but also the craftsmen she works with.

Coming back to Marx’s statement, one can see it clearly echoing in the life-size ligneous creations titled ‘Protecting his honour’. The twin forms create a stasis where the present learns nothing from its preceding times. Dressed in contemporary army uniforms, each figure aims a firearm at its identical counterpart. The works present itself as a reminder of the undeniable truth that war simmers down to — human against human. Stripping away propaganda fed to the public, this act of violence becomes nothing but a mere attack at one’s own species, one’s own self and therefore, one’s own reflection.

Adeela Suleman meticulously crafts the underlying horrors of a battle in her solo show

Similarly, ‘I am the guardian of his words’ has three upright figures, completely covered in army attire and forming a human barricade. As seen from these two works, the clothing is easily recognisable and still evident to this day, thereby making the sculptures relevant. The title of the latter piece suggest that, like these cloned statues, thousands of souls trust the misleading statements of those in charge, believing it to be the right truth which must be protected. Covered with spectacles and cloth, the hidden faces strip away any form of identity from each figure, thus appearing as mere clones, much like the fictitious Stormtroopers that came under the leadership of evil Emperor Palpatine in the saga Star Wars.

‘Strike for him when he cannot himself’ is a series of four armed figures created to scale. Unlike the aforementioned, each of them is dressed as warriors of yesteryear, with some resembling Roman gladiators and others as Mughal soldiers. Each sculpture suffers from a severed head or missing limb but, despite amputation, each one’s posture is firm and ready for battle. One realises that while hearing the names of conquerors throughout the centuries, those actually sacrificing themselves on the frontlines are rarely remembered. The series draws a parallel to the statement, ‘history is written by the victors,’ as the defeated don’t survive to write their own.

The artist’s remaining three pieces include metal plates painted with postcard imagery of scenic beauty. The finely painted sheets appear serene until one notices the debris barricading viewership of the entire scene. In ‘Whatever is left’, an enormous postcard — again depicting a picturesque view — is tattered, each fragment separated from the next. Along with humans, Suleman also provides archetypes of the effects of violence on the land. One could even interpret her use of postcards, an active tool in tourism and promotion of a country, as a comment on possible disruptions war may have on a country’s economy; no one wants to tour a violent country.

Despite the graphic imagery, the artist’s attention to aesthetic and form makes her work attractive and palatable, which again is what rulers have been doing for centuries.

“What May Lie Ahead” was displayed at the Canvas Gallery in Karachi from September 25 to October 4, 2018

Published in Dawn, EOS, October 14th, 2018