Veil and veiling have been a part of both Western and Eastern visual cultures for millennia. In Western art the veil is associated with exotic notions of the East and is viewed increasingly as a symbol of cultural oppression. When it comes to the East, this veil and veiling has a far wider context. Other than its religious connotations, the veil has a traditional history, is considered a symbol of respect and modesty as well as as mystery, and in current art practice its usage is loaded with socio-political implications. In the recent exhibition of paintings, ‘Sillouettes’ by Sadaf Naeem at Taseer Art Gallery, Lahore, it is the finely meshed lace veil that invites speculation.

In her entire collection, the veil is presented as a delicate floral net which illustrates a very feminine space. Appearing as a contemporary evocation of the cultural phenomenon of ‘chadar and char deewari’, the lace curtain substitutes for the chilman /screen of yesteryear. Serving as a curtain between worlds the filigreed lace both conceals and reveals the persona of its subjects.

Shadowy images of urban women behind the veil specify an observance of traditional norms regarding modest behaviour as well as life within the zenana/ladies quarters reserved for the women and girls of a household. The huddled women shrouded in black dupattas painted against a rustic background reference the helpless, illiterate and underprivileged rural class of women constrained by strictures of archaic customs.

The painting ‘Kali Shalwar’ features a black lower garment super imposed over a patch of red lace. Capitalising on the name value of a famous literary work, this otherwise bland painting stirs the imagination. In Manto’s story, Kali Shalwar, his heroine Sultana experiences a pensive spell. Her loneliness and despair get objectified in her desire for the kali shalwar (black lower garment) that she needs to complete her black ensemble for the observance of mourning in Muharram.

Unfortunately the visual potential of this narrative has not been fully exploited by the artist.

Dragging a thread out of the lacy net gauze (supposedly an innocent gesture) becomes burdened with meaning when interpreted in the context of women’s rights. In the painting ‘Silhouette’ the act of pulling a thread is tantamount to damaging the stature of women and contemplating their subjugation through wilful manipulation.

Employing a sombre palette of black, red and ochre Naeem also makes deliberate use of grey, be it in the form of filigreed veil or as diaphanous floral backdrop. This grey space articulates anonymity, secrecy, obscurity, privacy, silence and also enigma — states that can be associated with the mystique, suppression and liberation struggles of the female gender. Visually gentle and mild the artworks emit a delicate emotive appeal which the artist describes as a “whisper in a noisy environment”. While she manages to infuse an aura of fragility in her technique her composition sense is at times flawed as her arrangements are not always optically balanced.

Naeem acquired her BFA from the National College of Arts, Lahore. From 2002 to 2011, she taught at the Pakistan Institute of Fashion Design and Kinnaird College. She also participated in the International Artist Camp in Habarana village, organised by George Kyet Foundation Colombo, Sri Lanka, in 2003. In 2006, she represented Pakistan at “Euphonic Palate” organised by Nitanjily Art Gallery in Delhi and Mumbai at Alliance Francaise, India. Her current exhibition at Taseer Gallery follows her previous solo show titled, ‘Unspoken’.

The artist plays with the veil as a curtain between worlds but other than the social, historical and cultural contexts that determine the validity of the veil its current manifestation as a fashion accessory brings another dimension to its aura. Indeed with today's commercial branding of adornment, the veil has triggered new arguments about its significance at home as well as in the context of worldwide debates on multiculturalism.