n art exhibition, a thoughtfully curated presentation of artworks, particularly one that is centred around a particular theme, style, artist, or era, encompasses a diverse range of artistic forms, including paintings, sculptures, photography, installations, digital art and multimedia presentations. These exhibitions serve as a means of fostering a cultural exchange, an artistic dialogue and a deeper appreciation for the arts. Pardakht, which was held at Alhamra Art Gallery from November 3 to 12, was one such exhibition.

Curated by Sehrish Mustafa, Pardakht delved into suppressed emotions, untold stories, and uncomfortable truths within human existence. It turned out to be a captivating exploration of the web of life, where every conscious being embarks on a profound journey while reflecting upon the remnants and imprints left behind during their evolution.

Pardakht intricately analysed the concepts of belonging and displacement, offering a profound glimpse into the human psyche. At its core, the exhibition explored the intersection of traditional artistic mediums with contemporary image-making, transforming the act of creating marks into a dazzling presentation. The hybrid aesthetic of miniature painters uncovered an uncanny documentation of the self, relying on vulnerability and chaos to craft intimate glimpses into modern-day poetry, tales and personal histories. The artists, selected by Mustafa, employed personal manuscripts, skilfully weaving narratives that manifested paradoxes and polarities. The works on display blended contemporary elements with the familiar, resonating within a harmonious composition.

The exhibition variously referenced poignant historical symbols, thus establishing a deeply rooted connection with diverse histories and timelines. It transcended various eras, presenting itself as a canvas for those seeking solace in its artistic history. As the visitors traversed the gallery space, they were invited to unravel layers of their own existence, fostering a deep sense of introspection and connection with the shared tapestry of humanity. As such, they weren’t passive observers but active participants.

Pardakht, a term for shading, or cultivating, eventually served as a mirror that reflected the profound depths of consciousness and our timeless quest to understand our place in the world through the works of artists such as Shahid Hassan Boni, Arghawan Hatif, Jahanzaib Akmal and Ameer Hamza, all qualified miniature artists.

At its core, the exhibition explored the intersection of traditional artistic mediums with contemporary image-making, transforming the act of creating marks into a dazzling presentation.

oni draws inspiration from personal encounters with physical and psychological displacement which have greatly influenced his artistic creations. He works across mediums and scales, commencing his creative process in a state of restlessness and insomnia. He envisions fragmented visuals of different compositions and swiftly sketches them on paper. These sketches then serve as the foundation for his final paintings.

Boni incorporates elements from Persian and Mughal miniature paintings as well as traditional miniature manuscripts. Within these artworks, architectural spaces symbolise emptiness, loneliness and a myriad of emotions. These vacant spaces are enveloped by dense foliage, which can be observed through interconnected windows, symbolising the connection between the external world and one’s inner self. This juxtaposition prompts the contemplation of whether this connection is genuine or merely a mirage.

Hatif’s miniature paintings, on the other hand, offer an intriguing and rebellious exploration of the unbounded quality found in children’s drawings. The central themes of freedom, purity and simplicity permeate these works, creating a captivating experience.

Hatif had embarked on this creative journey driven by an enchantment with child art, seeking to replicate the texture and spontaneous scribbles often present in such drawings. To achieve this, she meticulously employed gouache paint, delving into personal and political expressions. In a bold manner, she immersed herself in both imagined scenarios and lived experiences, using a combination of careful, controlled strokes and fearless mark-making techniques. This approach infused the artwork with a vibrant display of colours, expertly processed through a range of experimental methods.

The author is a writer and designer. She studied Visual Communication Design at BNU, Lahore