EXHIBITION: THE LIVES OF WALLS
It is invariably inspiring to engage with a creative endeavour that attempts to explore something unique. Immaculate Decay by Rabia Ajaz was definitely one such attempt to push the boundaries of art practice, and that too in a seemingly simple way. Instead of holding an exhibition in a sleek art gallery, which tends to be the norm, she chose an old, soon-to-be demolished house in Gulberg, Lahore, and evolved her work around a concept that created an unforgettable experience for viewers. Even the invitation cards were handcrafted, and delivered personally to many guests, giving an old-world feel to the project.
Born in Peshawar, Ajaz completed her BFA with Honours from Beaconhouse National University Lahore in 2009 and her MFA with a distinction from the Pratt Institute, New York. Her earlier work revolved around realistic portraiture and this realistic style has now found a more subtle, nuanced direction. It is essential to share at least a part of her stated narrative to fully absorb the essence of the paintings that found their place in the stained and crumbling walls of the space she chose.
“The walls around us embrace us and contain us. They envelop and yet elude us. They bear witness to our most intimate moments … At times our very souls reside in their cracks and corners, the chipped surfaces and warped symmetry mirroring our own inner disintegration … So this is about the lives of walls — so closely entwined with ours ...”
The unconventional venue and artworks at Rabia Ajaz’s show made viewers question the meaning of time and space
An element of nostalgia pervades the exhibition. It reeks of bygone times, an era of simplicity and even ugly imperfections. For those residing in modern, upscale houses, an old house such as this would certainly need a massive overhaul, or a complete demolition.
The old switch boards, the unfashionable windows and doors, or the water-cooler blaring away, are objects that would need to be done away with by a modern, upper class family. Ajaz approaches all this in a subtle way, inserting her paintings in the space in a manner that mimics what is already present.