ISLAMABAD: Gallery 6 opened its doors to a new exhibition “Figure 24” on Thursday, symbolising how the human figure was being used by artists in 2024 to present different narratives.

The show brought together an attractive collection of works by 17 emerging artists from all over Pakistan and showcased paintings, miniature, paper cutwork, and sculptures.

Commenting on the exhibition at the preview, Sana Arjumand, the curator, said, “Human existence is nothing short of a miracle.

The journey from being a microscopic cell to having this human experience is something to marvel at. The way we witness and experience life is unique; every individual has a different story to tell.

Our thoughts, feelings, ideas, inspirations, and drives are all distinct. Everyone is designed for a different purpose, as artists we have the opportunity to express our unique vision of the universe. We get to share the expanse of our life experience through the lens of our artwork.”

Ahsan Javaid’s collaborative series challenges artistic control and consent, involving diverse participants to shape his paintings with shared ideas, redefining traditional norms.

Ajea Zahid blended gestural expression with muted colours to explore the human experience. She effortlessly combined figurative elements with impressionistic flair, drawing from her environment to create emotive paintings that transcend reality.

Ammama Malik, a skilled oil painter celebrated for her commitment to traditional techniques, elegantly merged contemporary themes with Renaissance and Baroque influences.

In her art, the draped figure took centre stage, with fabric serving as more than just covering — it became a medium to accentuate expression and movement.

Farah Anwar critiqued societal issues through traditional miniature techniques, infusing multicultural sensibilities rooted in culture. Emphasising emotions, her narrative art, sculpted from eco-friendly paper, undergoes continual destruction and reconstruction.

On a somewhat similar theme, Nazarul Islam addressed social, cultural, and political biases, advocating for humanity and justice. He explored Adler’s psychology, revealing societal complexities through portraiture. His work challenged norms, exposing the unconscious development of superiority and inferiority complexes.

Jawad Ahmed Jan confronted racism through art, using construction mesh to symbolise comfort and safety within his sphere. By amplifying the experiences of black individuals, he challenged stereotypes, fostering tolerance and inclusion through his impactful narratives.

Imran Gul depicted hyper-realistic male figures, symbolising the unspoken trauma of everyday life. Through his art, he revealed societal struggles and inequalities, highlighting the complexities of intimacy within a policed environment.

Javaid Mughal examined gender dynamics, challenging societal hierarchies through expressive gestures and obscured forms, evoking mystery and critique. In contrast, Asif Hussain compared landscape textures to male skin in his painting, highlighting a deep interconnectedness.

By drawing parallels between the two, he explored themes of vulnerability and resilience, infusing his work with symbolic depth.

Jibran Shahid in this current series “Symbiosis” merged emoji-inspired hands with ancient mudra patterns, bridging digital communication with timeless symbols.

Sarah Mumtaz’s recent projects, like “Love Loves Difficult Things” and “It Too Shall Pass”, underscored her commitment to artistic exploration.

Sana Saeed explored the lasting impact left behind, capturing the uncertainty of existence and the “nothingness” between past and present. Delving into memories and fears, her art sparked dialogue about the traces left by those who were once present. Quratulain Dar explored gender and power dynamics through dramatic visuals, blending fact and fiction to challenge societal norms. Inspired by her upbringing in Gujranwala, Pakistan, she questioned cultural behaviours and norms.

Shamir Iqtidar explored the correlation between visual and unspoken narratives through experimentation.

Through art, he delved into the suffocating nature of advanced societies and the resultant sense of fundamental unhappiness. Sayed Yaqoot Jan’s work reflected his roots in Swat.

His art used pomegranates to symbolise human life and blood to depict the suffering of people during violent events.

Usman Alvi, born deaf into a hearing family, discovered his artistic talent early, excelling in charcoal art.

As a miniature artist, he captured the beauty of nature in his artwork, transcending language barriers and inviting viewers to embrace love’s beauty.

Salar Marri explored the materiality of paint, investigating the connection between image, surface, and scale.

His work revolved around the figure, showcasing the painter’s ability to convey vitality and lifelessness through morphing and bruising.

The exhibition is open till May 22.

Published in Dawn, May 17th, 2024