The skilfully contrived work of the textile artists who recently exhibited their work at the Karachi School of Arts Gallery, reminded one of the struggles artists have undergone through centuries of art history to widen the boundaries of fine art.

With their work the four young textile artists created a discourse which was extremely persuasive.

As Maryam Azhar, the curator explains, the stereotype notion of textile design of having patterns on women’s garments is the marginalising of an aesthetic discipline which is an increasingly important and globally recognised art discipline. To prove this point, Azhar has curated a stunning exhibition of textile work.

Upon entering the KSA Gallery, the shadow installation of Kanchan Dawani had a tremendous impact on the viewer. The artist had involved four acrylic sheets — one placed in front of another — on which work had been carried out with various techniques, oil painting, screen print and fabric paint with foil wires in several interesting collage combinations. The installation included wires, cut and hung across the work representing the problems of light in the city. The work in its entirety, seen from a distance created Gothic shadows that were stunning. Dawani who graduated in textile design from the Indus Valley School of Art and Architecture (IVSAA) titled her piece, ‘City of lights... city of shadow?’

The work of Asma Faraz was described by a documentary titled, ‘Colours of Karachi’. Here the artist showed the bright aspects of the city that she appreciates: colourful textiles in the markets, painted vehicles, and the dhobi ghat… colours found throughout the city, but basically focusing on textiles. A circular installation of cotton and silk was created by plaiting black parandas — the threads that are worn in long hair and were here installed in a circle to hang from ceiling to floor. The installation held several meanings; a shadow cast by the work contrived the shape of two eyes, one the artist contends, represents the shadow cast by the media showing only the dark side of the city. The composition of the black parandas also acted as a symbol of the women who wear mourning in our violent times.

The textile artist, Hasan uz Zafar, created interesting images with an ancient pin and thread technique that he contemporised with an original approach. Working with the simple materials on boards he created intriguing thread drawings. There were sketches of men going about their business, a large crow and background buildings, yet the soft linear contours of the images contrived a complex study of negative and positive spaces.

Bilal Mehmood graduated in textile design from the Asian Institute of Fashion Design, Iqra University, Karachi, and is currently teaching at Iqra and at the KSA. Mehmood states that he has always been inspired by modern architecture and points out that the material used is mostly steel and wood. Focusing on this element he created delicately sculpted pieces.

Set against the wall, they spread from the base of the installation in a design of fine lines that shone in the light creating a design of exquisite delicacy.

These young artists have plans to take their work further afield, a positive notion as the work is far too fine to be dismantled and forgotten.