The past couple of years have been the most difficult on a collective, global scale, bringing unprecedented forms of struggles that have permeated every sphere of our lives. This has compelled a sense of deep contemplation upon life and a rethinking of priorities in many of us. But especially those of the creative persuasion have been pushed to respond through their art in one way or another, laying credence to the theory that any tragedy is a catalyst for progress, innovation and creative endeavour.

The recent body of work by artist Nazia Ejaz, displayed at the Canvas Gallery in her solo show ‘Scriptures of Love’, is a more oblique response to our current predicament. The artist takes an introspective journey and reflects on how the pandemic has reshaped the ways in which we connect with our own emotions and with each other.

The artist employs the process of repetition as a meditative exercise that helps distill a form into its bare essence, removing burdens of representation and meaning and creating a more elusive vocabulary, rooted in abstraction. In works like ‘Found Only Myself’, this translates into a continuous textured surface in bright gold, built through the repetition of a basic shape.

According to the artist, her work is based on the idea of connection and separation. One can see this reflected in the visuals of many of the works, but most of all it is apparent in the way the works affect the viewer. An amalgam of pure form and colour engages the senses into deep emotional contemplation, allowing for one to separate from one’s surroundings, the here and now, and look inward, in a process of spiritual connection.

Nazia Ejaz takes an introspective journey and reflects on how the pandemic has reshaped the ways in which we connect with our own emotions, and with each other

The result is an array of canvases reminiscent of the Abstract Expressionists, with their minimalist abstractions and evocative colour fields. Rich emerald greens, royal blues and golds come alive with a certain vivid movement that invites the viewer in and transfixes the eye.

A prime example is Leaves of Gold, which splits the surface horizontally into fields of green and gold, the colours suggesting a mystical and spiritual connection, while at the same time denoting changing seasons. The changing shades add a vibrancy to the hues while also creating a sense of mystique that exudes an emotive allure.

In other places, the artist uses an abstract form of language which appears to be a cross between the Urdu script, Sanskrit and Egyptian hieroglyphics, resembling some form of an ancient language. She calls these works ‘Scriptures of Love’, perhaps a retelling of her own spiritual journey into herself. This script appears in many of the other works as well, varying in sizes and seemingly used to depict different forms of spiritual release.

The largest piece in the body of works, ‘A Million Farewells’, covers an entire wall of the gallery, and comprises 80 individual pieces arranged in a rectangular grid. The silhouette of a rose is repeated in black and gold on backgrounds of various colours. This reads as a memorial of sorts for the countless deaths during the past two years, the rose becoming a symbol to commemorate, grieve and honour the lives lost, their repetition allowing for a process of healing, both emotionally and spiritually.

Nazia Ejaz’s response to the past two years is a very personal account of her journey. Yet, on some level, it reflects something of what we all have felt at one point or another during these years of isolation, coaxing those emotions out and allowing us to confront them.

Moreover, it goes beyond just this specific time, such is the beauty of the abstract language, making it a timeless iteration of love, loss and spiritual connection.

‘Scriptures of Love’ was on display at Canvas Gallery from November 16-25, 2021

Published in Dawn, EOS, December 5th, 2021