Having been fascinated by the multitude capacities and the rainbow of talents endowed in the Pakistani population that I felt upon my arrival to this beautiful land in September 2011; immersed by the cultural diversity and the colorful paradoxical landscaping of Pakistan; I could not resist the temptation to mark the wind-blow of creativity that is silently taking place in Pakistan. I wanted to give all these wonderful capacities a voice, a soul, and above all wings with an aim to contribute to its outreach; not only in Pakistan but also exploring new horizons worldwide. It is all these mixed feelings that stimulated me to initiate this program to support the Pakistani artists which I would like to call today “The Dawn of Expression�. It is a modest effort compared to the hidden talent of this country, but for me it is a must-do contribution to these fascinating people that I highly cherish.
SaĂŻd HINDAM The Ambassador of Egypt.
Message from the CEO – Serena Hotels It gives me immense pleasure to collaborate with the Embassy of Egypt in Pakistan in promoting young and talented Pakistani artists by exhibiting their best kept treasure to the public. I hope one day these Pakistani artists would be able to display their talent internationally as well.
Serena Hotels believe in promoting local culture and art by incorporating indigenous motives as part of the design concept for their hotels across the globe. The artistic creations of local artisans is also very prominent in all Serena Hotels in Pakistan, in the form of hand painted ceilings, wooden lattice-works, artworks, and tapestry displayed around each hotel. Continuing with this spirit, Serena Hotels have collaborated with the Embassy of Egypt in Pakistan in recognizing and showcasing the artistry of the talented artists.
With best wishes for the success of the exhibition,
Aziz Boolani Chief Executive Officer Serena Hotels – South & Central Asia
Zahra Khan Zahra works at Ronald Feldman Fine Arts in New York. She is also collaborating with the French artist JR and the TED prize on the Inside Out Project, a global art venture. In addition to this, Zahra is interested and involved in promoting and supporting contemporary Pakistani art. This show is the first in a series of exhibitions she has curated and organized in collaboration with the Egyptian Embassy in Islamabad. Zahra completed her Bachelors in International Relations and Fine Art from the University of Pennsylvania. She has previously worked at the Philadelphia Museum of Art.
Curator's Statement The Dawn of Expression is the first in a series of exhibitions organized by the Egyptian embassy to promote and nurture contemporary Pakistani art and young upcoming artists; a venture which is of great interest to me and that I will continue to support. Times of uncertainty and transformation often result in the production of fascinating and daring artwork. The work of many young Pakistani artists today reflects the undeniable curiosity, creativity and resilience
of the youth of Pakistan, while simultaneously representing a society in flux. As the title suggests, this show celebrates and highlights the power of artistic expression and positive change. Mohsin Shafi, Ayub Wali, Zaira Ahmad Zaka, Rabeya Jalil and Imran Mudassar are all young artists. Their bold work is multilayered; it highlights and captures their impressions of Pakistan and the worlds that they live in. Their pieces very powerfully express a sense of and quest for identity - whether it be national or individual. Exploring anomalies in the social and political system which they are also products of, they explore and portray them in ways which are at once whimsical, satirical and serious. Mohsin Shafi tackles the paradoxes in culture that prevent individuals from embracing and accepting themselves. Many of his prints and collages present a cowering, cloaked and covered figure accompanied by restrictive symbols, such as blinders and a birdcage. Shafi sends a powerful message regarding societal bondage and intolerance. His complex work, which deliberately leaves the figure's gender ambiguous, extends to each member of society. Ayub Wali's sculptures replicate the violence in Pakistan's past and its present. The showerhead gushing blood and the fragile cracked egg are indicative of death and birth, fracture and healing. Wali's work is a reflection of a nation that has survived violent separation and loss and is now on the verge of a new beginning. Zaira Ahmad's prints recreate the crumbling old buildings and walkways of Rawalpindi which have become a part of her daily routine and her existence. Ahmad's prints are nostalgically familiar -
the architectural formations she has replicated could be from any city in Pakistan. Ahmad's depictions of these structures emphasize the timelessness of these buildings and their impact upon her memories. Rabeya Jalil's prints are based upon a specific period in Pakistan's history when the Rs. 5 note was being removed and the Rs. 5000 was introduced. Her work highlights the subsequent decline in national belief due to the heavy implications of inflation and the rapid fall in consumer confidence. Finally, Imran Mudassar's paintings and triptych are openly critical of the wide-spread consequences of war. Heart Target, 2010, the gold and black triptych presents the often glorified methods of war - fighter jets and tanks. One of Three, 2011 represent the body of a man which has been damaged by shell fire. These pieces are based upon Mudassar's memories of Kabul. I would like to thank Ambassador Said Hindam, the Egyptian Embassy and the Serena Hotel for their support for the arts and their dedication to promoting young upcoming artists through this important programme. The exhibition will run at the Egyptian Embassy from January 25th 28th and at the Serena Hotel from February 1st - 8th, 2012.
Zahra Khan Curator
Mohsin Shafi We live in a society where few of us can be ourselves. We suffer abuse from the politically correct liberals with guilt and conservative fundamentalists, it is a constant struggle to be myself without being labeled something that which I am not. Exploring various tangents to identity my visuals investigates the ideology, sanctity, issues of gender and the tendencies of violence in our culture. Construction, destruction, reconfiguration, progression and mystification are elements that can be found throughout my art practice. I try to examine the concept of decay through the passage of time and through spontaneous wreckage; exploring aspects of life's unpredictability and fragility. The visuals counter the narrative associations taken from the individual prospect and afford a broader continuum of interpretations. The metaphors combine realistic portrayals of ordinary events and elements of fantasy and myth. Through a play with image, text, material, medium and milieu, I attempt to communicate multiple layers of meaning. I'd rather pose more questions than provide answers and hopefully, in turn create a deeper dialogue to expose the grey areas that become overshadowed by black and white moral codes.
Biography Shafi graduated from the National College of Arts in 2008 and has been producing work in various mediums and techniques since then. Besides his art practice and diverse jobs in print media, he was a part of the visiting faculty at Beaconhouse National University and at Pakistan School of Fashion Design. Mohsin has exhibited in group shows locally and internationally in last four years and had his first solo show in Dublin, Ireland in 2009. He was a part of the Vasl Artists Residency 2010 in Karachi. In Mohsin's work there is a keen sense of merging mediums and techniques to bring forth collages of conceptual response to life. For his art practice he uses the techniques of digital media, printmaking, video and installations.
Motor Mouth, 2009 digital collage printed on handmade paper, A/P, 48 X 74 cm
Once in a Blue Moon, 2010 digital print on archival canvas paper, A/P, 15 X 23 cm
Ayub Wali The prevailing and unprecedented social discrimination in society, particularly regarding civil rights, race, nationality, creed, color, sex etc has created a huge vacuum in the social order. My premise revolves around these major social issues, where awareness about neglected segments and enhancing cultural aspects of such classes is highlighted in my work. Sculpture becomes part of our culture in three stages: The artist's creative process, the patronage that supports the artists' work and the interaction of the created sculpture and the public. I primarily prefer working with natural materials such as wool and threads however I have also been experimenting with industrial materials (contemporary material) for example fiber.
Biography Ayub Wali belongs to the Gilgit-Baltistan region in the north of Pakistan. He received his primary education from Gahizer Gupise and graduated from the National Collage of Arts Rawalpindi in 2010. Ayub experienced diverse cultures while growing up as his family traveled from one place to another because of his father's job. This propelled him to understand and analyze various societies, and
he began viewing different scenarios from a unique and new perspective. His Bachelor's thesis also reflects this experience in a broader context. His work is greatly influenced by the cultural, social and political scenarios that exist around him and he believes that art is about bringing change contributing to society and culture.
Untitled, 2010 fiberglass, 4 feet x 5 feet x 3 feet.
Untitled, 2010 metal and threads, 9 feet, 7 inches x 6 feet
Zaira Ahmad Zaka My work depicts the situations through which I'm passing, which varies from time to time and place to place. It shows the phases as peace after every storm, a colorless leaf till a flower blooms. I work around the times before, through and after any certain event of life. I have tried to capture different emotions that are personal but are present in every human being without the restriction or boundaries of culture, region or language.
Biography Zaira Ahmad was born in 1974. A graduate from National College of Arts, majored in Printmaking, Zaira has exhibited extensively across Pakistan, UAE, Malaysia, UK and North America. Currently teaching at National College of Arts, Rawalpindi, her dedication towards art education is exemplified by student exhibitions, workshops and projects. Her works are in permanent collection of 'Art Works' Dubai, Civil Aviation Department Dubai Airport and various private collections. In 2010 she co-created 'EducateOne' that supports the education of many and is based upon the idea that 'No child is left behind'.
Brick by Brick II, 2011 etching and aquatint, 8.5 X 11.5 inches
Brick By Brick V, 2011 etching and aquatint, 8.5 x 11 inches
Rabeya Jalil This work revolved around the introduction of the PKR 5000 note in 2006 and the gradual extinction of the old Rs. 5 note (being replaced by a Rs. 5 coin) in Pakistan. It was an insight and appreciation into the aesthetics of the two currency notes and a commentary on the growing levels of consumerism and at the same time, the increasing inflation rates.
Biography Born in Lahore, Rabeya Jalil did her bachelors with honors in 2005 specializing in Fine Arts, Printmaking, from National College of Arts (NCA), Lahore. She has exhibited in shows at Lahore, Islamabad and Karachi, India, U. A. E., New York and Ohio. Alongside working as Fine Art Faculty in the Print making Department at the Indus Valley School of Art and Architecture, Karachi, she was the Assistant Curator of the IVS Gallery at Campus. She served as visiting faculty at the Centre of Excellence in Art and Design, Jamshoro and helped set up the Department of Etching (Printmaking) there. Currently she is a Fulbright Scholar at Columbia University, Teachers College for her Masters in Art Education.
Asli ya Naqli, 2008 mono printing with paper lithography and xerox transfer 11.5 x 16.5 inches
Asli ya Naqli, 2008 mono printing with paper lithography and xerox transfer 11 x 15 inches
Imran Mudassar In my recent work and the majority of my work I deal with the idea of Life and its destruction by creating a dialogue between my own body and war related objects or events.I have tried to make a comment on how the different elements of war and other objects of destruction have affected our lives. Combination of human body and emotions (at certain places represented by images of human heart) and war related objects have created a tension on my surfaces and depicting the idea of life and death. My work took a departure after my first visit to Kabul, Afghanistan. In that visit, I did some photography of destroyed and damaged walls of DarutAman Palace with bullet hole marks. That reminds me of the three decades of war in that region. Later when I came back to Pakistan, I used those images in my work (titled “Life drawing� series) by making pencil drawings of my body with the impression of bullet holes in it.
Biography Imran Mudassar was trained as a printmaker from the National College of Arts in Lahore. After practicing for two years as a traditional printmaker with its various techniques, Imran began looking into many unconventional methods of printmaking. He began to explore it further and produced a body of work by experimenting with various techniques- both traditional and nontraditional. Some methods included: Rubber stamp printing, printing on cutlery and ceramics and panni printing (a traditional technique of printmaking commercially used for leather binding book covers). This habit of pushing his boundaries and exploring his medium has developed his art practice and taken it practice into other directions as well, such as drawing, painting, video installations and performance and other mixed media techniques.
One of Three, 2011 poster paint and pencil in digital print, 10 x 7 inches
Atif Khan's work combines old Mughal imagery and narratives with images of a beating heart. He includes references to modern innovation, thus commenting on the diverse dimensions of our daily lives, and the impact that various eras, experiences and motivations have on contemporary society.
Zahra Khan Curator
Atif Khan I am inspired by the Eastern tradition of storytelling that's why my works are narrative in nature. One can find recognizable objects and symbols in them, which denote obvious meanings. These can lead the viewer to find hidden messages. Images of diverse and contrasting environments are juxtaposed in one space, subverting their original contextual meaning and suggesting new messages.
Biography Muhammad Atif Khan, (born 1972, Pakistan), graduated (with distinction) in 1997 in Fine Art from the National College of Arts in Lahore and in 1998 was awarded the UNESCO-ASHBURG Bursary, completing a residency at Darat-al-Funun in Amman, Jordan. He received Commonwealth Arts & Crafts Award in 2007. He was also appointed artist in residence at the Swansea Print Workshop in Wales, London Print Studio in England and Glasgow Print Studio in Scotland. He has also participated in art workshops in India, Bangladesh and Jordan. He has exhibited throughout Pakistan, India, USA, EU, Australia, Dubai, Jordan, UK, Singapore and Hong Kong. Alongside his artistic practice, Khan is the faculty member at the prestigious National College of Arts in Lahore, Pakistan.
Protocol Digital Collage (archival), 17.5 x 22.5 inches
Landscape of the heart (iv) Digital Collage (archival), 17.5 x 22.5 inches
‘Young Artists Support Programme’
Dawn of Expression Artists: Mohsin Shafi | Ayub Wali | Zaira Ahmad | Rabeya Jalil | Imran Mudassar| Atif Khan
Mohsin Shafi
Better Late Than Never, 2010 line and photo etching on somerset sheet A/P 9.25 X 12.8 inches
Self Acceptance, 2009 etching on somerset sheet edition 1/4 9.25 X 6.9 inches
Motor Mouth, 2011 digital collage printed on archival paper A/P 7.4 X 11.4 inches
Reflections, 2010 mono print/collage A/P 29.4 X 13.8 inches
Open the Windows of your Heart, 2009 etching 14.6 X 21.6 inches
On Compassionate Grounds, 2010 diptych mixed media on canvas paper 5.1 X 8.26 inches each
Conflict Within, 2011 etching and mixed media collage 9 X 12.2 inches
Construction Deconstruction, 2010 digital print on archival paper A/P 7.5 X 11.4 inches
22.4t Unexplored Territory, 2010 digital print on archival paper A/P 8.26 X 13 inches
Once in a Blue Moon, 2010 digital print on archival canvas paper A/P 5.9 X 9 inches
Ayub Wali
Untitled, 2010 metal and threads 9 feet and 7 inches x 6 feet
Untitled, 2010 fiberglass 4 feet x 5 feet x 3 feet.
Zaira Ahmad
Brick by Brick I, 2011 etching and aquatint 8.5 X 11.5 inches
Brick By Brick II, 2011 etching and aquatint 8.5 x 11 inches
Brick By Brick III, 2011 etching and aquatint 8.5 X 11.5 inches
Brick By Brick IV, 2011 etching and aquatint 8.5 x 11 inches
Brick By Brick V, 2011 etching and aquatint 8.5 x 11 inches
Brick By Brick VII, 2011 etching and aquatint 8.5 x 11 inches
Rabeya Jalil
Asli ya Naqli, 2008 mono printing with paper lithography and xerox transfer 11.5 x 16.5 inches
Asli ya Naqli, 2008 mono printing with paper lithography and xerox transfer 11.5 x 16.5 inches
Imran Mudassar Heart Target, 2011 golden printing on book cover 10 x 21 inches
One Of Three, 2011 poster paint and pencil in digital print 10 x 7 inches
One Of Three, 2011 poster paint and pencil in digital print 10 x 7 inches
One Of Three, 2011 poster paint and pencil in digital print 10 x 7 inches
Atif Khan
Landscape of the Heart I, 2011 digital collage (archival) 25 x 17.5 inches
Landscape of the Heart II, 2011 digital collage (archival) 25 x 17.5 inches
Landscape of the Heart III, 2011 digital collage (archival) 25 x 17.5 inches
Landscape of the Heart IV, 2011 digital collage (archival) 17.5 x 22.5 inches
Landscape of the Heart V, 2011 digital collage (archival) 17.5 x 22.5 inches
Surgical Strikes, 2011 digital collage (archival) 17.5 x 22.5 inches
Protocol, 2011 digital collage (archival) 17.5 x 22.5 inches