The exhibition Kehkeshan-i-Neesti at Chawkandi Art in Karachi serves as a poignant exploration of the intersection between loss, spiritual illumination and the passage of time. The title, drawn from artist Meher Afroz’s painted panels, refers to a rich tradition steeped in melancholic themes of the tragedy of Karbala, while simultaneously celebrating light and spiritual insight.

Kehkeshan, which means galaxy, mirrors a duality of grief and transcendence. This thematic tension lies at the core of the exhibition, evoking the delicate balance between sorrow and the potential for renewal. Afroz’s practice is deeply influenced by the marsiya, a form of lamentation practised by renowned poets such as Mir Anees and Mirza Dabir, and Kehkeshan-i-Neesti channels this tradition in a contemporary context.

The exhibition, expertly curated by Karachi-based art critic Amra Ali, showcases once again her expertise in creating exhibitions that foster dialogue between local and global artistic practices. The narrative in this show is visually enriched by the diverse contributions of six artists — Afroz herself, Amaan Khalid Aslam, Dr Fatima Zahra Hassan, SM Khayyam, Ali Gillani and Mudassar Manzoor — each exploring the themes of loss, transformation and spiritual illumination from their unique artistic perspectives.

The concept of neesti or fanah, meaning the annihilation of the self, is pervasive throughout the exhibition — tying the artworks together in a reflection on both the fragility and the resilience of existence. The exhibition creates a layered dialogue between the contemporary and the traditional, prompting viewers to reflect on the impermanence of the human experience, while also highlighting the symbolic power of light, history and mythology.

Six artists explore themes of loss, transformation and spiritual illumination at a recent exhibition in Karachi

One of the focal points of the exhibition is Afroz’s Kehkeshan-i-Neesti, a series of three painted panels that function as standalone manuscripts. The work draws from the rich tradition of Persian miniature painting, yet transcends it through the lens of personal and spiritual exploration.

Afroz’s paintings meld text, symbol and colour to evoke an emotive response, presenting the viewer with a universe where spiritual illumination emerges through the acknowledgment of loss. Her deep engagement with historical and spiritual narratives, particularly those drawn from the Shahnameh, underpins her exploration of time and its effect on both the individual and collective memory.

In a similar vein, Aslam’s diptych Mehfil-i-Qudrat brings the concept of a celestial garden to life. Drawing inspiration from the floral motifs of Lahore’s Wazir Khan mosque, Aslam’s work explores themes of nature, spirituality and the divine.

Hassan’s diptych Shajr Al Waq Waq also contributes to this overarching exploration of history and myth. Incorporating collage, printed faces, and elements from the Paris dealer Georges Demotte’s Shahnameh, Hassan’s work takes as its point of departure the tale of Alexander the Great reaching the World’s End and encountering the Talking Tree.

In this work, Hassan blends Persian literary tradition with contemporary collage techniques, creating a visual narrative that is both timeless and immediate. The combination of historical references and modern techniques reinforces the exhibition’s themes of transformation, the cyclical nature of life, and the complex relationship between power and myth.

The exhibition further examines the theme of historical memory and its visual manifestation through the works of Gillani, Khayyam and Manzoor. Gillani’s work confronts the darker aspects of history, particularly the corruption of power and its devastating effects on individuals and societies.

Using stark contrasts of black and orange, softened by subtle washes, Gillani’s paintings offer a poignant commentary on the violence and fear that permeate oppressive systems. His use of Shahnameh characters as symbols of power and resistance adds layers of complexity to the viewer’s engagement with the work, encouraging a deeper reflection on the ways in which history is shaped by the powerful.

Similarly, Khayyam’s and Manzoor’s restrained compositions evoke a sense of suspended reality, echoing the exhibition’s central concern with time and its fleeting nature. Their works offer an ethereal sense of both loss and transcendence, using minimalist techniques to evoke the fragility of existence. Khayyam’s use of natural materials and his meditative process infuse his work with a sense of quiet contemplation, while Manzoor’s abstract forms provide a visceral response to the cyclical nature of time and the inevitability of decay.

By drawing on the rich traditions of Persian literature and miniature painting, the exhibition underscores the importance of storytelling in both personal and collective memory. In addition to the thematic richness of the exhibition, the artists’ mastery of technique stands out.

From Afroz’s intricate manuscript-inspired paintings to Aslam’s vibrant floral motifs and Hassan’s modern collage work, each piece demonstrates a deep understanding of historical artistic traditions while embracing innovation and contemporary media. Gillani’s excellent fusion of old and new creates a dynamic visual experience, encouraging viewers to consider the intersections of past and present, myth and reality, and loss and illumination.

As aptly put by Amra Ali in her curator’s note, “These are pathways to interpret and read into the past,” and she concludes with Firdowsi’s timeless words: “Remember the past, live the present, dream of the future.” These words serve as a guiding principle throughout the exhibition, inviting viewers to reflect on the fluidity of time and the continuing relevance of these ancient stories.

‘Kehkeshan-i-Neesti’ was on display at Chawkandi Gallery in Karachi from January 28-February 10, 2025

Rumana Husain is a writer, artist and educator. She is the author of two coffee-table books on Karachi, and has authored and illustrated 75 children’s books

Published in Dawn, EOS, March 9th, 2025