“Chronicles Bound: A Visual and Literary Symphony” is an innovative exhibition that deconstructs and reimagines the book as a multidimensional artistic medium. At the heart of this experience are twelve A3-sized artworks, each a portal into the vision of a distinguished Pakistani artist. These pieces function as metaphorical pages and each artwork is paired with prose or poetry from a chosen Pakistani writer, printed on the reverse side. This juxtaposition creates a palimpsest of meaning, where text and image engage in a complex dance of interpretation and reinterpretation.
Anchoring this display are two commanding works that serve as the ‘covers’. These pieces embody the Urdu term ‘JILD’, a concept that transcends simple translation, evoking notions of protection, unity, and cultural continuity.
Hamra Abbas and RM Naeem’s works thus take over the cover and back cover. Their works frame and contextualize the 12 pages of this conceptual book, intended as a tapestry of contemporary Pakistani art.
Hamra Abbas’s interpretation of the front panel is a delicate symphony of visual poetry, weaving together elements of nature and culture. Her work transcends simple representation, offering a multisensory experience that challenges our perceptions of space and time. Through the juxtaposition of flowers and mountains, lapis lazuli and marble, Abbas crafts a nuanced narrative that pays homage to Mughal aesthetics while subtly expanding the boundaries of contemporary art practice. The use of marble inlays, decorated with motifs reminiscent of Mughal art, lends a delicate tactile quality that reinforces the immersive nature of the work.
In a complementary contrast, RM Naeem’s interpretation of the back cover guides us into a realm of quiet mysticism and introspection. Naeem’s paintings unfold on multiple levels, engaging viewers in a visual dialogue that transcends language and cultural barriers. His work evokes the timeless quality of Renaissance masterpieces, while remaining intimately connected to contemporary artistic discourse.
Naeem’s mastery of technique is evident in his delicate treatment of paint and thoughtfully chosen color palette. The reminiscence of Leonardo Da Vinci’s sfumato technique, creates an ethereal atmosphere that invites contemplation. This technique combined with Naeem’s skill in figure drawing, results in paintings that exude a profound sense of tranquility and spiritual depth.
Together, Abbas and Naeem’s cover interpretations create a deft yet dynamic interplay that reflects the diverse and evolving landscape of Pakistani art. Their works serve not only as entry and exit points for the exhibition but as thoughtful reflections on the transformative potential of art in navigating complex cultural identities and histories.
Within the pages of the book and adorning the exhibition’s space, twelve Pakistani artists bring their unique voices to this collective narrative:
Adeel uz Zafar’s haunting figures, meticulously rendered by scraping away at black latex surfaces, evoke a profound sense of isolation and vulnerability. These bandaged forms, set against stark backgrounds, serve as metaphors for the fragmentation and alienation in our complex global society. Ahmed Javed reimagines traditional miniature painting techniques to document contemporary life. His intimate portraits of artists in their studios bridge past and present, preserving traditional practices while acknowledging their evolution in a modern context. Bushra Waqas Khan transforms bureaucratic documents into intricate fabric dresses, exploring themes of identity and belonging. Her work repurposes official emblems and patterns, creating arrangements that reflect on cultural heritage and the value of official recognition. Hammad Gillani’s art strips away layers to reveal primal markings, occupying a space between deliberate technique and spontaneous expression. His gestural paintings and illegible calligraphic forms challenge viewers to engage with deeper philosophical questions about language, meaning, and the human condition. In the art of Meher Afroz, poetics and politics intertwine, creating rich narratives that resonate with her cultural heritage rooted in Lucknow’s genteel legacy. Spanning nearly five decades, her diverse mediums—metal, wood, handmade paper, gold foil, and fabric—consistently showcase tactility and intricately worked surfaces. Afroz’s journey began in the 1970s, exploring cultural and national identities after relocating from Karachi, eventually evolving into a poignant critique of society. Muhammad Zeeshan’s multi-disciplinary practice delves into themes of violence and political depravity on a global scale. Trained in miniature painting at Lahore’s National College of Arts, he now employs video, collage, and installation alongside his meticulous fine line work that merge mythological and religious imagery, inviting viewers to ponder the symbolic significance embedded within. Rehmat Hazara confronts themes of sexual suppression and societal norms rooted in Quetta’s strict traditions. Inspired by the Kamasutra, he uses layered colors and visual distortions to challenge societal constraints, provoking dialogue around suppressed topics. S.M. Khayyam’s work traverses past, present, and future, re-contextualizing faces from history. His faded portraits evoke a sense of decay and incompleteness, reflecting the buried histories that shape our present. Utilizing natural pigments, Khayyam’s paintings articulate the interplay of memory and identity, allowing colors and forms to narrate the interconnectedness of humanity and nature. Sadaf Naeem’s practice explores the transformative power of repetitive gestures and patterns, inspired by the intricate knots found in nature. Focusing on spaces associated with women, she delves into themes of agency and interconnectedness. Through techniques like knot weaving and papermaking, Naeem weaves narratives that highlight the intrinsic value of materials, inviting viewers to reflect on the beauty and complexity of their surroundings. Sana Arjumand’s work navigates mysticism, inviting contemplation of the mundane as a portal to the transcendent. Central to her pieces is the symbol of the bird, representing higher consciousness and transformation. Her art encourages a reflective journey, embodying the tension between movement and stillness, while illuminating the essence of love and truth within the human experience. Syed Hussain’s artistic journey is shaped by his identity as a member of the Hazara community, marked by a search for belonging amidst societal expectations. His work, rooted in traditional Indo-Persian techniques, explores the complexities of identity through the lens of personal and ancestral history. By replicating old legal documents, Hussain questions the nature of identity and the narratives that shape it. Talat Dabir’s linear art celebrates the intangible by mapping the wrinkles of her hands onto paper, transforming them into fanciful representations of nature. Each line tells a story of joy, sorrow, and resilience, celebrating life’s complexities. Through her work, Dabir emphasizes the interconnectedness of human experience and the natural world, where every wrinkle reflects a narrative of growth, love, and loss.
“Chronicles Bound” intricately weaves together the unique stories of 14 Pakistani artists, creating a collective tapestry that shows the interplay between past, present and future. Using the meaning of binding, a revered and complex art form, this installation suggests a metaphor of unity by combining separate pages and artworks into a coherent narrative. “Chronicles Bound” also reinterprets the relationship between art, literature and cultural identity. By creating individual stories within a collective chronicle, the exhibition offers a nuanced exploration of contemporary Pakistani culture and its future, while transforming the traditional structure of the book into a visual and literary masterpiece.
Anissa Touati
Art Critic / Curator