ISLAMABAD: Six artists have come together to present a compelling collection of artworks in the capital city, exploring the complex intersections of identity, culture, and the concept of space.

The show, titled ‘Personal Portal’, curated by Robella Ahmed opened on Friday at Daastangoi Gallery, secluded in a sprawling farmhouse featuring a blend of styles and mediums that invite viewers into unexplored realms and challenge conventional perspectives.

It offers a rich tapestry of interpretations that challenge viewers to reconsider the spaces they occupy — both physically and metaphysically. Through diverse mediums and compelling narratives, the exhibition creates a dialogue that explores the fluid boundaries of identity and belonging.

“In our ever-evolving lives, the concept of the third space emerges as a crucial element of human experience,” said Ms Ahmed, an independent art curator currently based in Lahore.

She gained her curatorial training from the Node Centre of Curatorial Studies, Berlin, Germany.

Ms Ahmed said: “A third space is neither home nor work; it is the in-between, the place where society interacts and evolves.”

“These virtual spaces allow individuals to access perspectives, feelings and relationships that resonate with their own identity and journey,” she explained.

One standout of the exhibition is A.B. Rahman’s innovative AR code-themed artwork, ‘The Lady of the Social Platform-II’ rendered in acrylic on canvas and augmented reality symbolises the intersection of digital technology and timeless mythology.

Rahman’s VR and AR elements serve as gateways to new realities, amplifying the inherent powers of Venus, a symbol of eternal femininity, beauty, love and desire.

“By merging the past with the future, I aim to inspire a new generation to re-imagine their strength and possibilities,” Rahman stated.

Ahsan Javaid has displayed pieces like ‘North East’, ‘North West’, and ‘South East’ in oil on canvas.

“I understand the existence of the self as a third space: one that shifts between the internal and external,” Javaid said.

The smog of Lahore serves as a backdrop for his imaginative recreations, where familiar landscapes are layered with symbols of growth and resilience, the curator elaborated.

“My canvases become spaces of renewal and decay, where home is an ever-changing concept,” Javaid reflected.

Lahore-based artist Ahsan Memon’s portraits offer another dimension to the exhibition.

“The portraits I make are living yet appear like plants — silent, shedding, and regrowing,” Memon shared.

His technique emphasises raw authenticity using stains and gradual transformations, symbolising life’s cyclical nature.

Arslan Farooqi’s ‘Where Faith Floats’ series, rendered in gouache on paper, delves into mythological and spiritual themes.

He uses natural patterns and water-like textures to depict life’s unseen guiding forces.

Hamid Ali Hanbhi’s multidisciplinary approach spans drawing, painting, and large-scale installations. His career began with cinema board painting in Jacobabad, Sindh, which influenced his vibrant visual language.

Hanbhi’s works like ‘The Silence of Ochre’ and ‘Echoes of Resistance’ reimagine scenes from political and romantic cinema, blending them into complex dialogues.

“My art extracts new meanings from familiar visuals, creating layered narratives that transport viewers,” Hanbhi remarked.

Syed Hussain’s work highlights the ethos of displacement, ‘other’, and identity struggles of the Hazara community who faced persecution and violence for a long time in Afghanistan and Pakistan’s Balochistan province.

Featured in his ‘Displacement Series’ are pieces such as ‘Portrait 98’ and ‘Portrait 99’.

“As a Hazara, I have always felt the weight of being an outsider,” Hussain shared.

His practice, rooted in traditional Indo-Persian miniature painting, draws on old legal documents and personal family records to question identity.

Published in Dawn, November 18th, 2024