Islamabad: An exhibition of artworks by two artists reflecting their childhood memories, their attachment with belongings, the pain of displacement and emotions opened at the Nomad Gallery on Wednesday.

The artworks by Ayesha Hassan revolve around deconstructing and recreating characters in fairy tales.

A mile in their Shoe is a series done in pen and markers on wasli with red symbolising struggle and hope.

The Little Red Riding Hood is about the never ending fight between good and evil, greed and hope and second chances.

She builds stories around existing ones to change the perspective of the viewer who has lived growing up with these tales.

“I use my mediums to create a little nostalgia and a little whimsy,” she said.

The Gentle Wolf is done in pen and markers on wasli and tracing paper. The artist has tried to explain that our problem always travel with us, as she has shown in Transcendence.

Emerging artist Fizza Siddique’s work revolves around the belongings of children such as their toys and bed. Playfulness and happiness are characteristics of her subject. She uses paper origami-like birds showing the fragility of a child.

Ms Siddique has tried to depict the connection between migration and human suffering and hope.

In Unfold Connection done in mixed media and paper collage she has shown the connection of pain and happiness, the survival of innocents.

“My artwork revolves around displacement, love, sufferings, scattering and trauma using mixed medium with collage on paper,” she told Dawn.

Ms Siddique has very subtly depicted the hardships and resilience of displaced and migrant children; the entangled memories of those children who escape their roots and are detached from their belongings.

In her series Obnoxious Transition, Ecstatic Trance and Happiness Within, she has painted a migrant child moving from one place to another. But the transition has not ruined him and dampened his hope. Small flowers and grasses show the blooming desires coming from inside.

Toys are very connected with fond childhood memories, Ms Siddiqui said.

In a collage with mix media a migrant child with his belongings on his head passing through an alley while a nearby building is in flames after a blast, show his resilience and attachment with his childhood belongings.

“Post-modern art has a new audience and contemplative viewers and critics gleaning new found innumerable meanings hidden as symbols or questions,” said Nageen Hayat, curator and director of the gallery.

Greater significance is placed on art as received by the audience as compared to earlier times when art was more autonomous, she added.

Ayesha’s symbols take on a sinister meaning when you follow her narrative, she added.

“Fizza reflects displacement and emotions which are tied to the process; experiences of refugee children grappling with changes in their lives,” she added. An understanding of the artworks by both artists involves empathy since the focus is on extremely relevant issues.