Although a centuries-old technique, the art of collage made an impactful appearance during the early 20th century and was considered revolutionary and innovative. The definition of collage was collectively conceived by Georges Braque and Pablo Picasso, which led to its popular use during the Post-Cubist Modern art period.

Iqbal Geoffrey has been associated with art for the last six decades during which he also developed a taste for collage painting. His ostensibly simplistic collages have a tendency to draw the viewer into their profound dimension that is proliferated with symbols, folklore, familiar fables and nostalgic reminiscences.

With a no-nonsense expression, the artist focuses on developing compositions that would perhaps leave many fans confounded. Yet the unassertive manner with which he translates his vision by juxtaposing trivial objects such as paper cuttings, paint strokes, postage items, bills, receipts, tickets, etc., revives calming memories of life’s vicissitudes, emphasises purpose of life and the significance of solidarity.

Defying the principles of conventional art, Iqbal Geoffrey has devised a universal language with the dialect of an insurgent

Some may draw complex inference from his works; others would call him an aesthetic vagabond, or even an impulsive expressionist who continues to explore contradictions within himself. With years of artistic translation of philosophical experiences behind him, and the strikingly odd compositions that he produces, Geoffrey is recognised as an iconic personality in art and a distinguished reference amongst the world’s best visual artists.

His eccentrically eloquent works depict the artist’s customary obsession to portray art the way he would like to see it. Nevertheless, his work unmistakably tends to resonate with the audience; is it compassion, empathy or is it anguish that exudes from his restive soul? In all its rebellious absurdity, it is perhaps the intended offbeat expression of a concept that fuels his imagination. When he confronts the gaping canvas, it seems that all his intellectual traits converge to excavate the synthesis of experiences that dwell in his mind and soul.

Defying the principles of conventional art, Geoffrey has devised a universal language with the dialect of an insurgent who is hell-bent to unravel the mysteries of the complex psycho-social milieu.

Showcased at the Koel Gallery, Karachi, Geoffrey’s solo exhibition is dedicated to Imran Mir, his close friend and eminent contemporary artist who passed away last year. The entire collection of 25 artworks entitled “The Art Writ Verses the Wor(l)d” in mixed media assemblage, is based on collage with each picture in diptych format.

The National College of Arts, Lahore has recently launched a book titled Because: Iqbal Geoffrey compiled by Dr Shana Sadiq and Dr Aima Iqbal, to promote the artist’s valued experiences which would also serve as an academic reference.

Geoffrey has been exhibiting since the 1960s in Pakistan and overseas. Looking back, his first ‘London Retrospective’ in l962 was termed as ‘distinguished’ by The Times (London), while the artist’s work of the early 1940s was lauded as ‘precocious’ by Dr John Walker of the National Gallery of Art (Washington DC). Amongst many honours and awards, the artist won the Paris Biennial Award (1965). His work is displayed in many galleries across the globe; the Tate Britain (London), however, stands out significantly for acknowledging the artist’s simplistic expression and its ability to communicate forcefully with the masses.

Published in Dawn, Sunday Magazine, October 18th, 2015

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