‘Paper One’ was a collaborative between four Lahore-based artists that recently took place at the Khaas Gallery in Islamabad. Paper has a rich and very intriguing history that has traversed the world’s culture and geographical boundaries. It is from papyrus that the word paper comes from and is a very important surface used by writers, artists, scholars and historians.

The exhibition was unique as the four artists—Asad Hayee, Sheraz Faisal, Ghulam Hussain and Hassan Mujtaba explored the tactility of paper in their individual expressionistic styles. By using different techniques such as combining layers of paper to create wasli, or by cutting and constructing forms from handmade paper and or by assembling shapes from paper or manoeuvring paper to form a particular object/shape; each artist investigated the endless possibilities of using paper in their own way, hence defining each piece with beauty and fascination.

All four artists portray how well they’ve learnt the art of using paper to shape their own means. Then their execution of the fabricated objects, which require them to create, was worth acknowledging. The viewer would want to understand the passion behind which the artists engage in their art. Hayee and Hussain are both graduates in fine arts from the National College of Arts, Lahore, whereas Mujtaba graduated in visual arts and design from the Beaconhouse National University and, Faisal has a master’s degree in design from the College of Art and Design, Punjab University. Hayee’s approach towards the medium of paper is clear yet intricate through the formation of the avocation. His dialogue emits gender issues, both masculine and feminine, and his use of graphite makes an intimate connection with the viewer. Also, his work is metaphorical and symbolic and corresponds well with the medium. The artist’s use of the tie and rose respectively characterise two sides to a personality.

Hussain, who is a trained miniaturist has selected to experiment with this genre by combining his expertise of weaving and miniature art. The weaving is an intricate process and is conspicuous to any passer-by, the childlike handwriting provides a nostalgic feeling of being in school and doodling on notebooks, yet most of the letters are perfectly shaped and coherent. Commenting on politics and the usage of power and dominance comes forth from the used pages of the written notebooks.

Mujtaba’s ‘English, Urdu bol chaal’ series challenges people’s social status in a provocative yet compelling manner. Origami—ori meaning folding and gami meaning paper—is the traditional Japanese art of paper folding which started in the 17th century, and Mujtaba has worked in this style to create forms such as boats and airplanes. His analysis of the use of language inspects how human behaviour is altered due to using ‘English’ and ‘Urdu’ as a divide amongst people in society.

Faisal’s work is minimalistic. Using handmade paper cut-outs and graphite on wasli paper, his compositions are strong and simple. Cut-outs of bullets vaulted by patterns of flowers and petals fashion an interesting dialogue between the artist and the viewer. Political and social turmoil are an imperative part of his work but is concealed in a clever yet meaningful manner.