"What counts most is finding new ways to get the world down in paint on my own terms,” writes German painter, Georg Baselitz. Art is not limited to a certain few mediums in terms of painting, or making a piece of sculpture using wood, stone or marble only, it is much more. An artist can employ multiple methods and means of expression to give significance to their mode of mannerism in art.

Symbolism, an art movement rejected the purely visual schools of thought such as naturalism and realism, and was a reaction in favour of mystery, imagination and spirituality. It thrived in France in the late 19th century and rather than the precise equivalents of ideas or emotions, its symbols were meant to be more ambiguous suggestions of meanings. The symbolists believed that art should represent absolute truths which could only be described indirectly, thus, they wrote and painted in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning.

One such artist who experiments with technique and medium is Karachi-based painter Shahzad Zar who recently showcased his work at Islamabad’s Tanzara Art Gallery. Having exhibited 37 paintings in mixed media and acrylic on canvas and paper, the artist has incorporated symbols and the analyses of those particular symbols from Pakistan’s cultural compass in his paintings. Zar is among the favoured few who were mentored by the late Ali Imam who encouraged and inspired him to develop his artistic abilities. Besides taking short courses at the Rangoonwala Centre and by eminent artist Mansur Aye, his progress was supervised by Imam for four years. The potential Imam Sahib saw in Zar has assisted him in evolving his style of painting.

Symbolism is apparent in his solo show whereby his chosen theme of wedding is involved, representative of bridal forms, colourful attire and elegantly composed elephants and motifs.

The women are mostly painted in flat whereas the background and foreground are elegantly decorated with floral motifs. Carpets and artful conceptions of flowers are likely to show a relationship between the Mughal royalty and current wedding extravaganza that flourishes amongst Pakistani women.

Patterns of carpentry indicate a decorative element, a symbol of luxury and an orientalist interest. Zar’s reference to miniature art is indicated through the harmony of the elephant image which like the carpet is an authority of aristocracy. Delicate webs of colour and line work, patterns and design elements portray characteristics of joy, celebration and cultural expansiveness. The brides lack facial features and this could be representative of a universal female figure draped in fine clothing and adornment. A juxtaposition of collage, acrylic paint gold and silver leaf emphasises the subject and school of thought.

Zar’s constant exploration of experimental art and painting will be a guide in cultivating his artistic eloquence. Conceptually interesting, his style is proof of an avid and cultivated artist and visual thinker.