ISLAMABAD: Artists depict what they see around them through their art, award-winning cartoonist and painter Sabir Nazar said at the opening of an exhibition featuring his work.

The exhibition, titled Glimpse of Indigenous Roots, was inaugurated by Ukrainian Charge d’Affaires Olena Shaloput at the Nomad Gallery on Saturday.

Ms Shaloput praised Mr Nazar’s work and likened some of his pieces to Ukrainian art, pointing out flowers and red roses that are commonly used motifs in her country.

She added: “Nazar’s art is the real depiction of South Asian society and culture, which is very interesting for me.”

She said the exhibition provided her the opportunity to understand the region and its diversity, adding that she hoped Mr Nazar and Nomad Gallery would find more such projects to bring the people of the two countries closer to understanding each other.

Glimpse of Indigenous Roots draws parallels between legends and stories from South Asian history and the present day

Mr Nazar: “Paintings are something not to be read rather seen. I prefer to speak through my art, not words.”

“My paintings are symbols, legends and stories of the South Asian region. There are certain symbols and messages which are universal, for instance the legend of Rannjah the flute player which is also common in Indian mythology with little variation like Krishna. The flute is common in this region and also has roots in Persian poetry,” he said.

He added that his work focuses on socio-political issues, pointing to a peace depicting Raja Rasalu tricking people to a game. He said this was relevant today to depict the hypocrisy of the ruling elite.

“Cartoons and caricatures on political themes is a new format and gets an immediate response and sometimes affluent people can make it very dangerous, as I experienced recently,” he said.

“Nazar is a political cartoonist and gifted artist. He shares a significantbody of works in this exhibition exploring connections between palace intrigues and contemporary political conflicts, experiences of places, environment, memorable moments, and exquisitely crafted stories -- expressive and questioning,” the exhibition’s curator said.

“I am exhibiting this solo show after a gap of 14 years,” Mr Nazar told Dawn. “The gap of more than a decade is for two reasons: first, whenever I made paintings they were sold out before being put on display, and second, I have to make cartoons for three organisations.”

Mr Nazar said he considers himself an ‘accidental cartoonist’. A designer by professional, he ended up in the cartoon field because of a friend and never looked back.

He said that before he makes a painting, he reads about its theme, subject and history. To make a good cartoon, you have to remain connected to and updated on the contemporary socio-political situation, he added.

“My cartoons earned me great popularity but at the same time risks. Although the media has always faced restrictions, people were tolerant of criticism. However, it is now becoming more difficult. People are unaware of the importance of cartoons and consider it insult,” he said.

Last year, a private television channel refused to feature his caricatures on the political situation, indicating that space for dissenting views – even through art – is shrinking.

The pieces exhibited at the gallery are based on legends, stories and symbols from the 17th century, which are just as relevant today. They depict sagas of love and hate, palace intrigue, repression, social injustices and the lust for power.

A painting about Aurangzeb and Sarmad is also a comment on current power games. It references India in 1661, when Aurangzeb killed his brother Dara Shikoh, a poet. Dara’s friend Sarmad was beheaded on charges of heresy and apostasy.

“This idea came to my mind during the Zia regime but it took almost four decades to put it on canvas as the situation is the same today, or rather it is getting worse now,” Mr Nazar said.

Another piece shows a cow inside an elephant in a turtle while Sita sits inside the Lakshman Rekha and Rawan appears as a beggar to trick her to come out of the circle. Lanka is shown as a row of houses, with Hanuman jumping on the roofs with his tail on fire, setting it all ablaze. The main idea was that imperialism has reached deep inside our societies, as symbolised by the golden deer.

The exhibition will remain open every day but Friday until Nov 23.

Published in Dawn, November 12th, 2019