Art of Pakistan has continued to emerge significantly on the international scene ever since the traditional miniature painting transformed into the contemporary format during the early ’80s. Under the near-regimental guidance of Ustad Bashir Ahmed at the National College of Arts, Lahore, artists like Shazia Sikander, Nusra Latif, Imran Qureshi, Khadim Ali and Aisha Khalid received worldwide acclaim at art festivals and biennials. Penchant for acquiring these incredible artworks, brimming with untold skills and thought-provoking concepts, went viral across the globe. To this day, this genre of art continues to evolve prolifically while branching off into diverse arrangements that never cease to awe aficionados. What substantiates this persistent phenomenon is the recent show “Sporadic Engagements” by Ahsan Jamal at the Chawkandi Art Gallery, Karachi. Demonstrating innovative handling, Jamal’s eight intense works, definitely take contemporary miniature a step further, unleashing newer areas of potential in this genus.

Highlight of the exhibition is the relatively large size of some incredibly detailed paintings. Tackled almost at a microscopic level, these paintings manifest the artist’s ability to translate the true spirit of the portrayed characters and the environment. Jamal’s mega-composition titled ‘Security grill maker’, gadrung on wasli, is unique for its huge brightly lit cityscape during night with the grill maker on bike in the foreground. Jamal says, “The grill-maker who provides security to homes, himself is exposed to threat when he moves around the city on his bike — a strange paradox!”

Misty and drenched in rain, the ‘Polythene man’, watercolour on paper, is a delicately rendered painting that perhaps has stretched every muscle around Jamal’s carpal canal. Besides the undeniably notable composition and the mellow ambiance, harnessed within a relatively large size, the artist remains consistent in maintaining the technique of pardakht. The unprecedented detail can easily challenge any finicky critic owing to its flawless implementation which grants this painting an archival significance.

Averse to superficial impressions, Ahsan Jamal emphasises the need to seek purity in the insignificance of life and find serenity in engaging with simple people

‘National Delusion’, gadrung on wasli, is a revelation of his reaction to the psycho-social milieu. Depicting a frolicking donkey who is apparently performing stunts orchestrated by the garbage collecting cart driver, Jamal captured this moment of naïve enthusiasm. The youthful lad perched on a bike with the slogan ‘The next big thing’ printed on his T-shirt, reveals the trending practice of looking exquisite on the outside. This painting, watercolour on Arches paper, carries the same title as the T-shirt caption. Given the daunting perspective, Jamal has handled the medium with spontaneity to infuse the model’s pretentious character into the painting successfully.

Jamal’s painting ‘Makki Madani Electronics’, watercolour on Arches paper, acknowledges the versatile services of a handyman, whose extremist looks defy his congenial demeanour. The dramatic light and the focal element of the technician’s skilful fingers rectifying some defective machinery, culminate into an impactful composition.

The soul of Jamal’s work is fuelled by the frequent interaction that he has with labourers, minions and street vendors. Averse to superficial impressions, Jamal emphasises the need to seek purity in trivialities of life and find serenity in engaging with the simple people who live and work honourably around us.

Published in Dawn, Sunday Magazine, December 6th, 2015