One of Karimi’s gouache on wasli pieces must be discussed for its ingenious use of an old concept. It was an apparent depiction of an upside down girl with a fruit over and at a little distance from her head. It’s an artwork that is hard to get off your mind — the artist has intelligently touched on quite a few ideas in just one exhibit. The forbidden fruit for example, or for that matter, the unapproachable human goals or the delusional growth of an individual!

Chandio is known for the seemingly odd angles with which he draws his paintings. His oil-on-canvas exhibits carry a blurry feeling, but at the heart of it, all are human characters viewed from a point that towers over their heads and yet doesn’t dwarf them. The characters remain essentially human with warts and all, despite the farness created by the overhead shots.

Memon examines the effect and influence of Pakistani films on society; by that, he basically implies that the movies which are violence-driven or are fraught with aggression, rub off on none other than the viewers themselves. He doesn’t fully reveal the faces and keeps them in the dark, but the gaudiness of the colours of the clothes worn by his subjects is a dead giveaway of the kind of cinema that Pakistani moviegoers have either been treated or subjected to.