Javaid Mughal’s exhibition, ‘In the Company of Strangers’ held at the Sanat Initiative in Karachi, delves into the contemporary malaise of technological alienation and cultural dislocation.

The artworks on display underscore the pervasive influence of digital technology, highlighting how it fosters disconnection and superficiality in human interactions, and spawning what Mughal refers to as “a new culture of alienation, apathy and disconnect.” Mughal’s paintings serve as a poignant visual exploration of these themes, depicting a society grappling with the erosion of traditional values and the overwhelming influx of information.

Theatre of the Absurd I portrays a group of individuals in a frenetic wedding scene. The use of dark, muted colours juxtaposed with the bright, flamboyant attire captures the contrast between external appearances and internal turmoil. The figures, adorned with sunglasses and garlands, burst with life and exuberance as they dance at, what one infers is, their friends’ wedding. Here, Mughal questions to what extent such acts are merely performative and simply serve as attempts to, in his words, find some “connectivity through superficial means.”

Theatre of the Absurd II continues this exploration and this composition is deliberately disjointed, with some figures appearing as dissolving shadows in the background. Strangely, this painting conveys a sense of isolation and anonymity, despite the physical proximity of the figures.

Javaid Mughal’s paintings, apart from being visually arresting, are a much-needed reminder of how technology has socially alienated us while ostensibly bringing us closer together

The bridegroom, donning the sehra, looks like a lost figure, as others prance around him. Mughal’s nuanced use of light and shadow here effectively highlights the tension between tradition and modernity, a recurring theme throughout his work.

In stark contrast with his other works on display here, Innocent Enemies I stands out due to its minimalist, almost monochromatic palette. A line of individuals, all absorbed in their mobile devices, move forward in unison, evoking a sense of conformity and mindless progression. The lone figure standing upright and without a phone in hand, depicted with slightly more detail and colour, suggests a yearning for individuality amidst the homogenising force of technology.

This painting can be read as a powerful commentary on the loss of personal identity in the digital age, but it also captures how stifled human interaction has become due to our constant need to seek out our gadgets, even in social settings.

Hide and Seek I presents a more intimate scene, featuring two figures locked in a game of concealment. A green-tinted figure covers the eyes of the other, which could be seen to be harmless fun, but here it takes on a more sinister undertone by evoking themes of manipulation, control and deceit.

Mughal’s artworks serve as a compelling critique of contemporary society. In his own words, “While technology has resulted in swift communication on the one hand, on the other, it has hoodwinked society into believing that ultimate survival lies in remaining up-to-date, thus leading to an identity crisis.”

‘In the Company of Strangers’ was on display at the Sanat Initiative in Karachi from June 25-July 4, 2024

The writer is an artist and educator

Published in Dawn, EOS, July 21st, 2024