Contemporary artists these days frequently engage with the concept of the ‘anthropocene’, transforming it into a subject that reflects the anxieties and concerns of our disturbing times. It is a term coined by scientists to describe the geological period in which we currently live — an era defined by the profound impact of human activity on the Earth’s systems.
Wars, greenhouse gas emissions, climate change, melting glaciers, floods, deforestation, rising global temperatures and the ongoing bloodshed of innocent people caused by human cruelty are all forces that place existence itself at risk, disrupting the delicate balance of the ecosystem.
In an age in which human hands have altered the very rhythm of the planet, the paintings on display at the exhibition ‘Imaginary Ecosystems’ at the La Galerie Alliance Francaise de Lahore echo this transformation, capturing the tension between nature and human presence. The overall body of work by the artist Kausar Iqbal is deeply rooted in Surrealism.
It is not intended to be decorative or immediately pleasing; instead, it deliberately unsettles, confronting the viewer through distortion and unease. The imagery carries layered meanings, exploring psychological tension, intrusion and the complexities of human thought. Through unexpected juxtapositions and disquieting visual narratives, the work resists passive viewing. At this exhibition, curated by Anne Sophie Francais, all the works on display are untitled.
Surreal imagery and symbolic distortion took centre stage at an exhibition in Lahore
In one of the paintings, a man’s portrait is drawn with a cunning, tense smile, his gaze cast sideways as if withholding a secret. The pale yet bold yellow background sharpens the viewer’s focus on the figure, isolating him within a space that feels both flat and psychologically charged. Behind him, a delicate white floral pattern unfolds and appears strangely detached from the subject, as though belonging to another reality altogether.
What unsettles the composition most are the intrusions of bird beaks: one at the mouth, another at the nose and a third emerging from the head. They appear to compete with one another, interrupting and fragmenting the figure’s identity. These elements disrupt the human form, suggesting invasion, mutation or an internal conflict made visible. The face no longer belongs solely to the man; it becomes a site of tension, where multiple forces collide, blurring the boundary between the natural and the human, the external and the psychological.
In another piece, hybrid figures — part human, part animal — introduce a distinctly surreal quality, making the composition subtly disturbing to behold. The viewer is not meant to passively observe. Instead, they are drawn into the miniature’s intricate world to uncover layered meanings embedded within its details. A central figure, with the upper body of a horse and human legs, appears entangled with a snake, evoking a sense of inner conflict and psychological struggle. The merging of forms suggests a body at odds with itself, caught between instinct and reason.
Nearby, an ape-like figure with human legs stands with its head bowed, a posture that conveys submission, introspection, or perhaps shame — hinting at the primal aspects of human nature that persist beneath the surface. In the background, scattered black birds flow across the composition, their movement creating a sense of unrest and chaos, highlighting the emotional tension within the scene. Together, these elements construct a visual language that is both symbolic and unsettling, urging the viewer to confront the complexities of identity, instinct, and the fragile boundary between the human and the animal.
On another canvas, a patterned elephant dominates the stark yellow background, combined with hummingbird-like figures. The circular form behind them acts almost like a halo or sun, giving the scene a dreamlike, symbolic quality. The way the birds hover around the animal creates movement and tension, while the animal itself feels grounded and still.
The elongated beaks of the birds are not anatomical but an intentional rendering, suggesting intrusion, tension, probing or communication. The fusion of a floral-patterned large animal with birds suggests a blending of life forms or ecosystems.
‘Imaginary Ecosystems’ was on display at the La Galerie
Alliance Francaise de Lahore
from May 5-9, 2026
The writer is an art critic, fine artist and educationist based in Lahore. She can be reached at ayeshamajeed2015@gmail.com
Published in Dawn, EOS, June 7th, 2026