Tonight a pigeon enters her window / The night is hot, therefore an open window What message arrived / With those wings through the window? A flutter of snow / In the darkness of the window You cannot know who speaks / So coolly through her window An insolent rival / Sends words through her window —Edward Lucie-Smith June 2012

The extraordinary exhibition of 70 artworks by Jamil Naqsh held at the Albemarle Gallery, London, in June 2012, was divided into two separate collections: ‘Homage to Picasso London’ and ‘Memories of doves and pigeons London’. The paintings were spread over two large halls of the gallery where a diverse audience of art lovers, artists and literati attended the opening of the show.

The series of 40 paintings titled, ‘Homage to Picasso London’ was referred to by the gallery’s managing director Tony Potone as “the final stage of a trilogy of exhibitions dedicated to Jamil Naqsh’s passion and admiration of Pablo Picasso”. Since Naqsh is now based in London, all of the artworks had been completed during the previous year and were publicly displayed for the first time. The great artist’s capacity — obsession one might say — with his work is awe-inspiring. His life is dedicated to his art and he paints from sunrise to evening. In this way he continues his acknowledgement of the tradition of his early mentor, the miniaturist Ustad Sharif.

Naqsh is aware that time is passing and he does not ‘waste’ a moment; he never leaves his home and will not be disturbed — not even to speak on the telephone. Viewing his work, one is enthralled by his passion and humbled by the powerful emotions that drive the artist and are communicated to the audience. To stand before Naqsh’s paintings and explore his handling of the media examining textures and layers, sometimes touching on pointillism, is an exciting, serendipitous and often moving experience. The artist greatly admires the capacity that Picasso had to constantly re-invent himself. Throughout his long life he fearlessly experimented with diverse disciplines and media, obviously enjoying the practice and ever creating unique viewpoints and movements.

In his recent work, Naqsh incorporates the symbolic, Picasso inspired ‘Bull’ form Taurus; in one instance paired with a female ‘veiled woman’. A painting titled, ‘Picasso in history’ has Naqsh’s female figure set against the painted suggestion of a newspaper headlines reading Pablo Picasso. Naqsh is a museum painter. His work should be exhibited in the Tate Gallery (though I am informed the Tate is booked till 2016) addressing a universal audience with an all embracing visual language.

Meeting Edward Lucie-Smith during the exhibitions was the cherry on the icing. He was delightful; speaking of his day spent visiting studios and workshops in the East end of London, speaking with pleasure of a lobster lunch en route and of the exciting artists emerging on the scene. Though he has tremendous stature and is a man of considerable maturity, when engaged in conversation the years drop away and one discovers the enthusiasm of a vibrant, ageless person. His closeness with Naqsh is precious to both, and they communicate in a language of art that is universal.

Visiting the gallery exhibiting, ‘Memories of doves and pigeons’, one could only marvel at the use of colour and beauty of the forms. Referring to his youthful days, the artist painted settings of newspaper images in which he doffs his cap to Shakir Ali, Ustad Sharif and Picasso. Allusion is made to his roots through patterned tiles that emerge from an early memory. Once a lonely 10-year-old boy far from home visited the ruined tomb of the Empress Noor Jehan and was comforted by the presence of numerous birds surrounding the area, as if guarding the remains, while roosting among the ruins.