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An arts outpost in far flung Gilgit, Skardu, announces its presence with a maiden show of sculpture at VM Gallery. Simply titled 'Organics' the exhibition, a Rupani Foundation initiative, comprises serpentine stone carvings by twelve young entrants from the region. After clearing short courses in drawing and clay modelling a dozen shortlisted students were enrolled for the main course on sculptural stone carving.
The discipline was taught by consultant artist Abdul Rahim, an NCA graduate. This innovative venture has been successful not just in imparting skill and knowledge to trainees but has also sparked their creative spirit bringing forth some attention-grabbing forms in serpentine stone which is indigenous to the region.
Experimenting with abstract notions as well as literal a gamut of arrangements displayed in the gallery invited scrutiny. Firmly mounted on wooden pedestals the sculpted pieces had the polished sheen and lustre of marble but it was the contours and relief areas where the artists manifested their carving expertise. Most works by KausarBano, M.
Nigar, Deedar Ali, Zoya Shaheen and Shahzad had used rough textural markings and deep, shallow or slight elevations to create curves, lines and incisions on irregular surfaces to modulate their ideas. They had opted for conceptually conceived formations that answered to titles like 'Eternity', 'Wind of spirit', 'Justajoo' and 'Prostration'. A seated person by Habibur Rehman was the only realistic representation of the figure while others like Nazia Baig and Samina Bano preferred quasi real depictions of the female figure. Among the figural forms 'Pari'by Abdul Rahim, 'Me and Myself' by Deedar Ali and 'Mother and Child' by Sameena Bano were eloquent.
Today young generation artists interest in sculpture goes far beyond the traditional media of wood, bronze and clay and a host of contemporary new media now enjoy currency. But serious sculpting in serpentine stone is still virgin territory and this first-ever exhibition devoted to home quarried stone prompts speculation on the advantageous growth of this genre. The entire exercise of selecting and training students and exhibiting their art formally in a gallery lays the ground for the development of an arts facility in the northern areas also.
Almost all green marble is actually serpentine (magnesium silicate), not marble and they are found in many deposits in the Gilgit, Baltistan region. Quality varies from very soft to very hard but the majority of the sculptors worldwide today, however, do not carve from soft serpentine, but rather select deposits of rock that are hard and therefore more durable. Serpentine is said to owe its name either to its serpent-like colours and patterns or from an old belief that the stones were effective protection from snake bites. In Gilgit folklore an intake of its powder can undo poisonous effects on the body.
Serpentine stone carving is practiced in most ethnic societies where this mineral deposit is mined. The Innuit Eskimo community in North America has a serpentine stone carving tradition where animal forms as amulets and fetish objects are popular. Green serpentine stone carved sculptures called Shona, from Zimbabwe have achieved renown across the world. Shona is the name of the tribe in Zimbabwe that has traditionally created these works of art. The art was given impetus in modern times during the '60s when an estate owner encouraged his farm workers to create stone carvings for sale as a way of helping them avoid the impact of economic sanctions affecting the country. Most of the artists had no formal training in art and produced works that were inspired by their traditions and day-to-day experiences.
While these early sculptures were influenced by a need to communicate social messages, nowadays a new type of art has emerged which thrives on aesthetic appeal. Drawing on ancient sculpting traditions the artists have produced a modern art movement of dignified, exquisite works. Reminiscent of Picasso and Henry Moore, these extraordinary, intense works command worldwide recognition with the world's most talented carvers being recognised in Zimbabwe. Much of the stone used in Shona sculptures is quarried specifically for the purpose. The craftsmen take great care when selecting stone for a sculpture, the shape, natural patina and size of rock all influence the final piece of art. Every effort is made by the carvers prior to commencement of the carving process to assess the material and produce a piece in harmony with texture and colour of the stone.
As a debut show, 'Organics' is a rudimentary effort as yet but the presence of diverse stone carving traditions worldwide and the existence of an international art market for serpentine sculpture augers well for its fruitful growth.
