For artists residing in Karachi, it is not unusual to make work referencing the country’s socio-political environment. Why? Because politics is omnipresent; overwhelming and indiscriminately surrounding all Karachites. Hence, unsurprisingly, Adeela Suleman’s practice, since its inception, has been inspired by the daily struggles of her fellow city folk.

Curated by Jenine McGaugghran at the Midland Arts Centre (MAC) in Birmingham, part of a solo exhibition titled ‘Allegory of War’, are five larger-than-life pieces that endeavour to capture, in a most aesthetic manner, the volatile nature of Karachi and the everyday negotiations of its inhabitants. The showcase includes the infamous video and sculpture installation, Killing Fields of Karachi, that addresses extrajudicial killings, and was originally installed at Frere Hall for the Karachi Biennale in 2019.

A new addition to Suleman’s cacophony of materials is the piece titled Harbingers of Death. This newly commissioned interactive sculptural piece allows the viewer to enter its foreboding interior for an inside-outside experience. It is an enclosed hexagonal structure, tapering as it ascends upwards. Similar to a step ladder, each side has symmetrical wooden shelves inserted in it. Two opposite sides have entrances cut out. Each shelf has a multitude of large black artificial crows perched on it, facing the inside of the architectural form. A part of the structure is a sound piece relaying the cawing of Karachi crows. More often than not, in most cultures, crows are considered a bad omen and harbingers of misfortune, however Suleman finds comfort in the familiar species as they roam the Karachi skyline in abundance. Perhaps not the crows themselves, but the enclosed space of this architectural artwork, manages to relay a sense of dread, an implicit feeling of disquiet, like in most of the artist’s oeuvre.

Adeela Suleman’s ‘Allegory of War’ endeavours to capture the volatile nature of Karachi and the everyday negotiations of its inhabitants

Two other distinct pieces included in the show are By the River and I die Unvanquished. These are enamel paintings on found ceramic plates. There is another ceramic plate painting titled Statecraft of Violence in the show, however these two stand out, not only because of the subject of the painting but because of the concave, solid-wood framing. The paintings made by Vespa Motorcycle decorators, in enamel and lacquer are meticulously rendered and as with most of Suleman’s work, they present brutal subjects of warfare with serene backdrops littered with decapitated heads and men in battle, all proffered in the most aesthetic format.

In the case of these framed plates, not dissimilar to Suleman’s tapestry works, they are executed in the Indo-Persian or Mughal style of miniature painting. Albeit, because of the heavy, two-toned wood framing with bevelled edges, the plates have maintained their character as serving dishes; a highly decorated yet understated serving dish at a dinner party, serving its audience bloodshed on a platter for consumption. It would have added a wealth of meaning if these two pieces were installed horizontally as opposed to vertically on a wall.

Working with skilled artisans — such as metal workers, each of them master professionals of their craft — is an integral part of Suleman’s practice. It is befitting that it serves as her way of giving back to society, especially considering the fact that her practice is based on a critique of said society.

The same modes operandi has been applied in the UK, as the large tapestry work titled Adeela Suleman Community Tapestry was produced in collaboration between Suleman, Ranbir Kaur and local stitch-and-appliqué artists in Birmingham using traditional Pakistani textile ornamentation techniques and material. This piece hangs in the Terrace Gallery as an extension of the exhibition.

The art work in this exhibition is larger than life, visually stunningly and theoretically saddening in equal measure, as is perhaps the intention of the artist.

‘Allegory of War’ a solo show of Adeela Suleman’s new works is up at MAC, Birmingham, United Kingdom from July 16th–October 9th, 2022

Published in Dawn, EOS, August 28th, 2022