Artists of the De Stijl movement believed that linear abstraction and a controlled palette could create a universal visual language. Abid Hasan’s new body of work at the Full Circle Gallery, Karachi, show “Hybrid Theory” is a nod to abstraction. Markedly different from his previous work, the pieces are reflective of the artist’s introspective journey — a visual discourse that is so relatable because of its chosen aesthetic.

His style has evolved to an abstraction that is more subtle, but also more poignant than before. As the title suggests, the work is a marriage of old and new, a culmination of what was seen and what was said, and above all, it marks the carefully nuanced point of refrain, where the artist’s journey is prioritised above all else. It is this ‘journey’ that, Hasan says, inspires him and drives him to be fully dedicated to a lifestyle, as opposed to a result.

And while this show is definitely a culmination, of sorts, in no way it is an end.

Abid Hasan’s work is an ode to his introspective journey

In contrast to his earlier 2010-13 work, where bright red spaces were disturbed by intruding, irregular shapes in oxidised gold leaf, his current body of work uses the same materials to create a more minimal and thus intense visual and critical experience. His refrain is very deliberate.

The series, titled “Weaving Life I-V” uses linear, regimented strokes, inspired by the meticulous hand-woven technique of the khadi, creating a layered weave of visual representation. It is interesting that the idea for Hasan’s controlled style came from such a demanding, almost cumbersome craft form.

Silver and gold leaf are applied to his flat black canvases and then oxidised, resulting in areas of coloured pigmentation on the metals. Glowing gold and silver are interspersed by globules of sepia, green and yellow ochre. As the series develops, the silver leaf is used less while gold is added. This transforms the atmosphere so that even though the stark lines are ever-present, the space they occupy becomes less static, more transient. The colours become murkier and more earth toned — evolving to a baser, fundamental form, making the viewer more receptive to the art.

All five pieces read horizontally. The colours and flatness of forms create dynamic tension on the canvases. Rigorous geometric abstraction makes for visual harmony that is pleasantly at odds with the balance of its monotony. While each individual work is complex, they need to be viewed chronologically as a series, if they are to be appreciated.

Hasan is an artist on a journey. He questions, concedes and then recedes, allowing the viewer time to do the same. Where that journey leads to is yet unclear, but there is something very human about the ambiguity that he expresses.

Published in Dawn, Sunday Magazine, May 31st, 2015

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