Meeting artist Shaan Tas­eer was an interesting experience; he is a well-travelled man with definite ideas on the art of the present era, as it is taught and practised here, and in the West where he was educated.

Speaking on art generally, he expressed the opinion that the greatest reward for the artist comes after 15 minutes of the completion of the artwork, when it is finally finished and one can put it aside. In his work his aim is to capture the beauty and simplicity that exists in the world and he takes the viewer on a journey that references places in Italy, Spain and France, and continues from the Kasbah to the Lal Masjid.

Throughout history, artists have been inspired by the world as they see it, capturing not just the architectural aspects but also the atmosphere, sense of place and timelessness. Making his debut at the Chawkandi Art Gallery, Karachi, the travels of this particular artist are meticulously documented in watercolours, some light inspired, some with the shadows of the afternoon; of sunlight on water, or even odes to ethnic architectural interest. In his work one senses the artist is striving to capture the immensity of the world, the narrative quality existing behind the secretive closed windows and one wonders what is taking place in the spotless and uninhabited scenario.

Shaan Taseer captures the immensity of the world in his paintings

Travelling visually with the artist through cities and towns, one finds intriguing images demanding close attention from the viewer. From the south of Italy one travels to the south of Morocco to an ancient city which, the artist ruefully remarks, “is now best known for the shooting of the film Gladiator”. Taseer is an artist who documents his travels, using minimum colouration, yet the work is never repetitive. Geometric visual shades materialise as patches of colour and are an invitation to one’s imagination.

A recurring element in the work are the interlaced red flowers which function as a symbol of natural beauty in some places and in others represent violence, reflecting diaristic and personal concerns. In one artwork the scene is dominated by a red sky which Taseer describes as ‘desire’.

Untitled

Currently based in Lahore, the artist records the architectural elements of the old city with a wealth of meaning as there are a few lost and lonely kites seen in a night sky, and floating red balloons relating to cultural events which may be seen as an invitation to find in the work a symbolic language.

One also finds sly humour in the aeroplane carrying a message usually found on rickshaws. Viewing the work close-up, one was surprised to find the elegant white architectural subjects are created from negative space; an overall third dimensional aspect is the result of skillfully worked-in painted shades and shadows. At times it seems the artist intervenes with gestural marks, the juxtaposition of the subject echoing a form of abstract expressionism that offers a suggestion of differing views of reality.

The overall impression one has is the artist’s enjoyment of his work. He likes to be involved in the routine of his infant son, and has started a new series featuring family life.

He handles the watercolour media adroitly and though his current show features cities undisturbed by human presence, it will be interesting to discover the new work painted in the presence of his son.

Published in Dawn, Sunday Magazine, March 22nd, 2015

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