At Amir Habib’s show “Dazzle, Bedazzle, Embezzle” held at the Canvas Art Gallery, Karachi, one encounters numerous objects resembling ice cream cones of different colours and sizes fitted on black metal containers. The containers are similar to the ones used for storing oil and toxic substances that are mostly imported into the country. These objects are placed in the centre of the gallery, drawing attention with their scale and attractive colours. The smaller versions, which look more like food cans with a dessert meringue at the top, are assembled on a shelf resembling a supermarket stack and reminiscent of Andy Warhol’s soup cans.

Another room accommodates a spectacular installation of a gas cylinder fitted with golden gauges and a bloated yellow balloon bursting and spitting out red liquid that clings to the wall. The viewer explores the contraption, inevitably becoming part of it as one finds oneself reflected in the attached mirror — an ideal opportunity to take a ‘selfie’. An empty emergency equipment box window reveals that in case of emergency one should hope for a miracle, and works consisting of manipulated photographs together with LED lights are also part of the show.

In the absence of any direct references to the issues at hand the viewer is compelled to think about the ideas leading to this body of work. The artist statement is part of the lyrics of a song ‘Comfort Eagle / We are building a religion’ by an American alternative rock band called Cake. The song critiques commercialisation of music industry but its lyrics can be true for almost everything in our capitalist world — including art and perhaps religion itself. The commercialisation and marketing tactics for any product, be it art or a pair of shoes, are metaphorically similar to organised propagation of a religion or vice versa.

Amir Habib’s artworks compel the viewer to think about the ideas leading to this body of work

In artist’s view, when religion is commoditised for the benefit of some, it leaves the followers confused and unable to unshackle themselves from the intricate web of lies. Much like the imported oil barrels, opposing religious beliefs are imported and imposed on unsuspecting populations. And thus we continue to be lured by dazzling concepts making us believe that we are part of something special, confused with their sheer brilliance and eventually robbed of our capacity to make sense.

Numerous

“In the name of go(l)d” is a piece created with layering of multiple photographs and LED lights. The resulting visual seems like a mountainous landscape engulfed by an explosive activity, with a superimposed green sword and sound waves of a recorded blast. The other photographic works follow a similar trajectory.

Habib has explored the issues of misappropriation of religion and ‘war on terror’ in his previous work as well and continues to do so in the current body of work. With these mammoth issues resulting in unprecedented violence in the country, he finds it impossible to dissociate his work from it.

Habib’s prolific engagement with materials and easy adaptability to produce art objects from them can be attributed to his long engagement with the media industry as an art director and initial years as car mechanic in Kohat. The LED work especially requires precision and meticulous attention to detail. To a viewer, this body of work clearly falls in the category of Pop Art, however, the artist distances himself from the discourse on the movement. For him this is his way to talk about the issues that have been allowed to take over our lives. It is interesting to note that most Pop artists of the ’60s America also held careers in commercial arts before they became famous artists.

Published in Dawn, Sunday Magazine, February 15th, 2015

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