ISLAMABAD: The United States (US) embassy presented its permanent art collection, which celebrates the natural beauty, culture and peoples of the US and Pakistan, on Wednesday.

From found objects to figurative art, mountain scapes and still-lifes, the collection features some of the best works by 21st century artists with American and Pakistani roots.

Wednesday’s tour focused on nine huge installations and paintings on display in three separate buildings. The collection showcases a multiplicity of media – paintings, prints, sculpture, photography, textiles and site-specific art. Dr Vicky A. Clark, an independent curator and writer based in Pittsburgh, spoke to the press about the pieces on display.

First up was ‘Blanket Stories: Textile Society, Rs Steward, Ancient One’ by Marie Watt, which featured a tower of blankets and the stories that went with them that she had collected from the public.

The artist referred to the columnar sculpture of folded blankets as a tower of personal histories.

The blankets were contributed from across America, including by Pakistani and Native American participants.

The next piece took 97 people and four months to put together and paid homage to crafts. The mixed media, resin, acrylic, adhesive on canvas wrapped, gator foam panels was contributed by Boston-based Ambreen Butt.

Developed in the US, the piece explored the traditions of classical Arabic language, including the practice of reciting and repeating selective text from the Quran and the stylised mark-making of calligraphy. The blue and green text-based patterns reference traditional Kashi-Kari tile designs that have been used as mosaic decorations in Pakistan for centuries.

‘The Essence of Existence’ was produced by Idris Khan by developing a narrative involving a densely-layered imagery that inhabits the space between abstraction and figuration. It spoke of the themes of history and cumulative experience. This particular piece was made from stamping verses as well as negative thoughts over and over again, which turned into a shapeless mass.

Hamra Abbas’ ‘Barakah Gifts’, a giant golden water bottle, was inspired by a visit to Makkah and Madina where she collected a number of objects and everyday use from gift shops around the two holy mosques.

The study of architecture and a fascination with artisanal crafts are at the crux of Sheila Hick’s work. Her piece titled ‘Lares and Penades’ symbolized the blurry boundary between painting and sculpture with her vibrant woven and textile works which she creates in many shapes and sizes, from wall mountings that mimic the format of painting to pieces that hang from ceiling to floor like textured columns.

Pakistani artist Shahzia Sikander’s contribution took elements and traditions of miniature painting to finish ‘Unrequited Love’.

“Known for her layering techniques, the artist has brought Indo-Persian miniature painting into the realm of contemporary art,” Dr Clark told the media.

While Sohail Zuberi’s work symbolised the sinkers as weights, worries and grief that people carry around, ‘Splitting Moon’ by Sana Arjumand, in acrylic and ink, oil on architectural mylar film was inspired from her conversation with a Hoopie bird that sat on the railing.

“The next piece by Rashid Rana is the most expensive acquired by the embassy, who takes old and makes it new while respecting the old,” said James Shae, economic officer with the embassy. The piece, titled ‘Two Ways to a View IV’, was a dark romantic gothic, Mr Shae added.

Published in Dawn, November 28th, 2019