ISLAMABAD: A solo exhibition of works by a Dubai-based artist depicting the legacy of the colonial past, the pillage of treasure, the rehabilitation of cultural heritage and present-day conflicts opened at Dastaangoi Gallery on Saturday.

TitledHundred Years a Jackal,inspired by the famous quote attributed to Tipu Sultan, ‘To live like a lion for a day is far better than to live for a hundred years like a jackal’, Saba Qizilbash through her three giant drawings subtly depicted the pillage of treasure, distortion of indigenous history by colonial rulers, the ethos of partition and broken links between neighbours and families.

“Saba’s works questions current day realities and significance of such objects in history and culture,” commented Amad Mian, the curator and owner of the gallery.

Born in Lahore and raised in Abu Dhabi, the artist has a bachelor’s degree in painting from the National College of Arts (NCA), a master’s degree in art education from Rhode Island School of Design and an MFA from the Ruskin School of Art, University of Oxford.

Saba’s work has been showcased in Abu Dhabi, Dubai, New Delhi, Hong Kong, San Francisco, New York, Lahore and Karachi.

“I walk difficult landscapes, imagining open access and open topographies, in search of new possibilities. I travel to the past in search of a new future, collapsing fences, aspiring for seamlessness,” commented Saba.

Her work focuses on the divided land in Kashmir, Ladakh, Kargil and Punjab.

“It fascinates me to search for commonalities in South Asian and Central Asian contexts and rehabilitate lost heritages through my work,” she said, adding that at least we can start this by opening historical routes. She is documenting cultures and people along G.T Road that links three countries from Bangladesh, India and Pakistan to unite people and divided families.

One of her works on display is twin-glasses work,Chashme Badoor,done in gold-plated silver frame, zircons, green onyx, graphite on mylar and tinted resin. It depicts the colonial and post-partition ethos, destruction of war and pains of divided families.

The artist has portrayed the legacy of Tipu Sultan in drawings and sketches, decolonising and rehabilitating the true image of Tipu as well as the pillage of treasures by colonial rulers in India.

The most fascinating work isRepatriation of Tipu’s Tigerin graphite, water-soluble graphite, and suminagashi ink on mylar.

Saba, through her work, wants to erase distortions from history and the negative portrayal of local heroes like Tipu; he was a hero for all including Hindus, Muslims and Christians.

The work,1965 Victory Daydone in graphite on paper andA Brief History of the Battle of Ichhogil Bund Volume One & Twoin graphite on mylar in brass frames subtly depicts the exaggerated claims of two rival forces about the outcome of the 1965 war.

Saba also gave a talk on her work and the history of post-colonial cultural landscapes and conflicts.

Published in Dawn, October 11th, 2022