Young artist Adeelul Zafar’s novel concept and innovative workmanship first gained critical acclaim when he exhibited in the 2009 VM Art Gallery, Karachi, show titled, ‘Size does matter’. Working diligently at a steady pace, he has managed to retain the momentum of this early impact and today his participation in Pulse Contemporary Art Fair, New York, courtesy Lawrie Shabibi Art Gallery, Dubai, spells out as a case of deserving talent acquiring vantage viewing.

A 1998 National College of Arts (NCA) art graduate, Zafar made a late entry into mainstream art. Opting for a career as a book illustrator he worked on academic curriculum volumes with reputable publishers like OUP (Oxford University Press) and HREP (Human Rights Education Programme). A posting in the suburbs of Gilgit, as a national illustration consultant, under the auspices of a Northern Areas Education project proved to be the beginning of his return to the art circuit.

Non-availability of conventional media in the art barren locale of Gilgit forced Zafar to hunt for alternative modes of expression. His experiments led to the development of his signature scratch technique—engraving onto exposed photographic paper using a paper cutter.

Today his work is singled out for its extra-large scale, original technique and iconic toy world imagery. In the current art environment dominated by the modern miniature modality Zafar went against the grain to work on a mammoth scale. Similar to the rigour and regimen of the miniature sensibility but vastly different in size and appearance his intricate linear trajectory is a massive collation of white /grey lines scraped out of a black surface. Using sharp edged, improvised, carpenter tools with remarkable dexterity and sensitivity to create the wavering linear patterns of fine gauze mesh he has to exercise considerable control and concentration because when etching on a surface for tonal effects mistakes can seldom be erased.

Similarly a working familiarity with animated cartoon characters related to his stint as a children’s book illustrator was put to imaginative use by the artist when he opted for inversion. By subverting images of legendry stuffed toys like Mickey Mouse and the Donkey in Shrek from amusing, entertaining and comforting objects to disturbed, sinister or threatening monstrosities he manages to create an atmosphere of fear and anxiety. All his creatures are wrapped in a gauze bandage which intensifies feelings of aggression and intimidation if they are translated as metaphors of the human condition in the present day scenario of upheaval and chaos.

It was this obvious aspect of unease, restraint and distress that made his art eligible for selection by the Lawrie Shabibi Gallery who were exploring the theme of “anguish” in artworks for their show at Pulse New York. Founded in 2010 by William Lawrie, former Director of Contemporary Middle Eastern art at Christie’s auction house, and Asmaa Al-Shabibi, former Managing Director of the art fair, Art Dubai, Lawrie Shabibi is a contemporary art gallery housed in Dubai’s Al-Quoz industrial area.

They promote contemporary art from the Middle East, North Africa, South and Central Asia regionally and internationally, and serve as a platform for both emerging and established artists from this region and its Diaspora. Their aim is to have exhibition programmes engaging the public with artists whose works impart a cultural and political discourse, a powerful aesthetic and a hint of the poetic.

William Lawrie has made two visits to Pakistan, first to view the ‘Rising tide’ at Mohatta Palace, Karachi and later to attend the inauguration of Art now, an online magazine covering contemporary Pakistani art. Impressed by the working skills and conceptual abilities of Pakistani contemporary artists, especially their nuanced critiques of the existing political and social turmoil, he pointed to the immense potential for growth this art had. Talking about his own recent experience of the Middle Eastern art and the state of major art markets he said that when the global financial markets plunged, Arab art also took a hit and there were no buyers. However, at this juncture Iranian art filled the vacuum and the downturn was averted. He hoped that the same would ensue for Pakistani art when buyers in the Middle East recognise the quality and calibre of the Pakistani artists’ works.

The gallery’s attendance at Pulse is the first art fair participation since Lawrie Shabibi opened in 2011. Pulse is the leading US art fair dedicated solely to contemporary art and Lawrie Shabibi will be the only gallery from the Middle East exhibiting there.

Zafar is one of the four artists whose works are being shown by Lawrie Shabibi. His main presentation, ‘Kong the tragic anti-hero’, is adapted from the soft toy image of the famous movie icon King Kong. He remarks, “The life of this fictional character on a big screen has similarities connecting with the age we live in—this character can be seen both as a rampaging monster and a tragic anti-hero. For me, this variation in its perception has a very clear parallel to today’s world. A giant gorilla, which was captured, caged and exhibited as the ‘Eighth wonder of the world’, escaped and terrorised New York City, shot and killed by the aircraft, provoked me to pay homage to this magnificent beast.”