Great route of modern art from Pakistan
100 works pakistani painting
From the Punjabi narrative to the modernisms of Lahore and Karachi, One Hundred Oils tell a story of color, matter, body and signs.
Painting a country in the making
Modern Pakistani painting is born in a moment of displacement. After 1947, artists, teachers and workshops had to invent images capable of speaking of a new territory without breaking with the memories of the subcontinent. THE punjab landscape, city, human figure, calligraphy and ornament become places of common research.
In Lahore as in Karachi, exchanges with London, Paris and European modernisms fuel this transformation. However, cubism, expressionism or abstraction are never simply imported: they are reformulated in contact of Urdu poetry, Islamic architecture, popular stories and Pakistan's political experience.
Twelve milestones in Pakistani painting
These twelve works outline the great tensions of Pakistani painting since independence: the popular narrative and the land of Punjab, modernist construction, the experience of the city, the body, the sign and calligraphy. Allah Bakhsh, Zubeida Agha, Shakir Ali, Sadequain, Gulgee and their contemporaries do not illustrate a single school; they invent several ways of giving visible form to a new country.
Ustad Allah Bakhsh
Heer and Ranjha
In "Heer and Ranjha", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the popular story becomes a large scene, crossed by light and daily gestures.
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Sadequain
Group of standing figures
"Group of standing figures" organizes the surface as a field of forces where color, contour and material respond to each other. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Zubeida Agha
Karachi in flames
With "Karachi in Flames", the familiar motif is shifted to an experience more mental than descriptive. Zubeida Agha constructs space through frank flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive to become color architectures.
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Ismail Gulgee
Untitled (Allah)
The composition of "Untitled (Allah)" is based on a tension measured between figurative presence and autonomy of color. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Shakir Ali
The Musician
In "The Musician", the light does not just illuminate: it gives its rhythm to the entire scene. Shakir Ali simplifies the body and the object up to the sign, while retaining a silent gravity inherited from Cézanne, cubism and the popular arts of the subcontinent.
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Anwar Jalal Shemza
Chess pieces
In "Chess Pieces", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Shemza combines the circle, the square, the letter and the architectural motif in a sensitive geometry where European modernism and Islamic memory respond to each other.
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Ahmed Parvez
Untitled (The Game)
"Untitled (The Game)" organizes the surface as a field of forces where color, contour and material respond to each other. Ahmed Parvez proliferates nervous and colorful forms which hesitate between plant, figure and sign; the energy of the gesture keeps the surface in a state of continuous tension.
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Anna Molka Ahmed
Last goodbyes II
With "Last Farewells II", the familiar motif is shifted to an experience that is more mental than descriptive. Anna Molka Ahmed works the dough with vigor: the impasto, browns and luminous bursts give the faces and landscapes an almost sculptural presence.
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Jamil Naqsh
Untitled (La Pietà)
The composition of "Untitled (La Pietà)" is based on a tension measured between figurative presence and autonomy of color. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and the soft contours transform the recurring pattern into intimate variation.
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Ali Imam
Untitled (Horse figure)
In "Untitled (Figure on Horseback)", the light does not just illuminate: it gives its rhythm to the entire scene. Ali Imam observes the figure, the animal and the city with a solid construction, then leaves the color and the simplification of volumes moving reality towards inner meditation.
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Laila Shahzada
Corrosion
In "Corrosion", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Laila Shahzada extracts from the walls, floors and archaeological remains a poetry of matter where erosion becomes visible memory.
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Bashir Mirza
Lonely girl
"Lonely Young Girl" organizes the surface as a field of forces where color, contour and material respond to each other. Bashir Mirza combines frontal portrait, solitude and emblematic color; behind the apparent simplicity, each silhouette carries a precise psychological tension.
View work at source →Punjab paints: story, earth and light
In Allah Bakhsh's painting, Punjabi folklore takes on the breadth of a shared history. Anna Molka Ahmed then transforms landscapes, workers and portraits with thick material and striking light, while Ghulam Rasul leads the territory towards a more stripped-down vision. The countryside is never a simple setting: it becomes memory, work and identity.
Anna Molka Ahmed
Living waste
With "Living Waste", the familiar motif is shifted to an experience that is more mental than descriptive. Anna Molka Ahmed works the dough with vigor: the impasto, browns and luminous bursts give the faces and landscapes an almost sculptural presence.
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Anna Molka Ahmed
Portrait of a boy
The composition of "Portrait of a Boy" is based on a tension measured between figurative presence and autonomy of color. Anna Molka Ahmed works the dough with vigor: the impasto, browns and luminous bursts give the faces and landscapes an almost sculptural presence.
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Anna Molka Ahmed
Portrait of Habib Burkee
In "Portrait of Habib Burkee", the light does not just illuminate: it gives its rhythm to the entire scene. Anna Molka Ahmed works the dough with vigor: the impasto, browns and luminous bursts give the faces and landscapes an almost sculptural presence.
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Anna Molka Ahmed
The traveler
In "The Traveler", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Anna Molka Ahmed works the dough with vigor: the impasto, the browns and the luminous bursts give the faces and landscapes an almost sculptural presence.
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Anna Molka Ahmed
Untitled (Landscape)
"Untitled (Landscape)" organizes the surface as a field of forces where color, contour and material respond to each other. Anna Molka Ahmed works the dough with vigor: impasto, browns and luminous bursts give faces and landscapes an almost sculptural presence.
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Anna Molka Ahmed
Untitled (Portrait of a Man)
With "Untitled (Portrait of a Man)", the familiar motif is shifted to an experience that is more mental than descriptive. Anna Molka Ahmed works the dough with vigor: the impasto, browns and luminous bursts give the faces and landscapes an almost sculptural presence.
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Ghulam Rasul
Untitled (Landscape)
The composition of "Untitled (Landscape)" is based on a tension measured between figurative presence and autonomy of color. Ghulam Rasul constructs the landscape with economy, giving the walls, fields and horizons the meditative clarity of a place observed for a long time.
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Ghulam Rasul
Untitled (The Wall)
In "Untitled (The Wall)", the light does not just illuminate: it gives its rhythm to the entire scene. Ghulam Rasul constructs the landscape with economy, giving the walls, fields and horizons the meditative clarity of a place observed for a long time.
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Ustad Allah Bakhsh
Untitled - composition 1
In "Untitled - composition 1", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the story popular becomes a wide stage, crossed by light and daily gestures.
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Ustad Allah Bakhsh
Untitled - composition 2
"Untitled - composition 2" organizes the surface as a field of forces where color, contour and material respond to each other. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the story popular becomes a wide stage, crossed by light and daily gestures.
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Ustad Allah Bakhsh
Untitled - composition 3
With "Untitled - composition 3", the familiar motif is shifted to an experience that is more mental than descriptive. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the story popular becomes a wide stage, crossed by light and daily gestures.
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Ustad Allah Bakhsh
Untitled (Family scene)
The composition of "Untitled (Family Scene)" is based on a measured tension between figurative presence and autonomy of color. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the popular story becomes a wide scene, crossed by light and daily gestures.
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Ustad Allah Bakhsh
Untitled (Potato harvest)
In "Untitled (Potato Harvest)", the light does not just illuminate: it gives its rhythm to the entire scene. Allah Bakhsh combines the naturalism learned from court painters with the poetic imagination of Punjab ; the popular story becomes a wide scene, crossed by light and daily gestures.
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Ustad Allah Bakhsh
Untitled (Young Shepherdess)
In "Untitled (Young Shepherdess)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the story popular becomes a wide stage, crossed by light and daily gestures.
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Ustad Allah Bakhsh
Untitled (Tree)
"Untitled (Tree)" organizes the surface as a field of forces where color, contour and material respond to each other. Allah Bakhsh associates the naturalism learned from court painters with the poetic imagination of Punjab; the popular story becomes a large scene, crossed by light and daily gestures.
View work at source →The Lahore Art Circle and the invention of modernism
In Lahore, artists and teachers open painting to international debates without erasing local forms. Zubeida Agha liberates color, Shakir Ali transmits the lessons of cubism, Ahmed Parvez makes the line proliferate, Shemza confronting geometry and calligraphy, Ali Imam reorganizes the figure and the city. Their modernism is less an imitation than a laboratory.
Ahmed Parvez
Beer mug
With "Beer Mug", the familiar motif is shifted to an experience that is more mental than descriptive. Ahmed Parvez proliferates nervous and colorful forms which hesitate between plant, figure and sign; the energy of the gesture keeps the surface in a state of continuous tension.
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Ahmed Parvez
Untitled - composition 1
The composition of "Untitled - composition 1" is based on a tension measured between figurative presence and autonomy of color. Ahmed Parvez proliferates nervous and colorful forms which hesitate between plant, figure and sign ; the energy of the gesture keeps the surface in a state of direct tension.
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Ahmed Parvez
Untitled (The Man of Sorrows)
In "Untitled (The Man of Sorrows)", the light does not just illuminate: it gives its rhythm to the entire scene. Ahmed Parvez proliferates nervous and colorful forms which hesitate between plant, figure and sign; the energy of the gesture keeps the surface in a state of direct tension.
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Ahmed Parvez
Untitled (Vase)
In "Untitled (Vase)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Ahmed Parvez proliferates nervous and colorful forms which hesitate between plant, figure and sign; the energy of the gesture keeps the surface in a state of continuous tension.
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Ali Imam
Roosters
"Coqs" organizes the surface as a field of forces where color, contour and material respond to each other. Ali Imam observes the figure, the animal and the city with a solid construction, then lets the color and the simplification of volumes move reality towards an interior meditation.
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Ali Imam
Untitled - composition 1
With "Untitled - composition 1", the familiar motif is moved towards an experience that is more mental than descriptive. Ali Imam observes the figure, the animal and the city with a solid construction, then lets the color and the simplification of the volumes move reality towards an inner meditation.
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Ali Imam
Untitled (City, night)
The composition of "Untitled (City, Night)" is based on a tension measured between figurative presence and autonomy of color. Ali Imam observes the figure, the animal and the city with solid construction, then leaves the color and the simplification of volumes moves reality towards an inner meditation.
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Ali Imam
Untitled (City, day)
In "Untitled (City, the Day)", the light does not just illuminate: it gives its rhythm to the whole scene. Ali Imam observes the figure, the animal and the city with a solid construction, then leaves the color and the simplification of volumes moving reality towards inner meditation.
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Ali Imam
Untitled (Winter Landscape)
In "Untitled (Winter Landscape)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Ali Imam observes the figure, the animal and the city with a solid construction, then leaves the color and the simplification of volumes moving reality towards inner meditation.
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Anwar Jalal Shemza
Blue vase
"Blue Vase" organizes the surface as a field of forces where color, contour and material respond to each other. Shemza combines the circle, the square, the letter and the architectural motif in a sensitive geometry where European modernism and Islamic memory respond to each other.
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Zubeida Agha
The evening
With "Le Soir", the familiar motif is shifted towards an experience that is more mental than descriptive. Zubeida Agha constructs space through frank flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive to become architectures of color.
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Zubeida Agha
Female composition
The composition of "Feminine Composition" is based on a tension measured between figurative presence and autonomy of color. Zubeida Agha constructs space through sharp flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase ceases to be descriptive to become architectures of color.
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Zubeida Agha
The deserted Village
In "The Deserted Village", the light does not just illuminate: it gives its rhythm to the entire scene. Zubeida Agha constructs the space in sharp flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive to become color architectures.
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Zubeida Agha
Tennis Players
In "The Tennis Players", the subject is first imposed by the balance of the masses and the circulation of the gaze. Zubeida Agha constructs space through frank flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive to become color architectures.
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Zubeida Agha
Untitled (Urban view)
"Untitled (Urban View)" organizes the surface as a field of forces where color, contour and material respond to each other. Zubeida Agha constructs space through sharp flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive and become architectures of color.
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Zubeida Agha
Untitled (Flowers in a Vase)
With "Untitled (Flowers in a Vase)", the familiar motif is shifted to an experience more mental than descriptive. Zubeida Agha constructs space through frank flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive and become architectures of color.
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Zubeida Agha
Untitled (Self-portrait)
The composition of "Untitled (Self-portrait)" is based on a tension measured between figurative presence and autonomy of color. Zubeida Agha constructs space in sharp flat areas, angular rhythms and fiery contrasts; the city, the figure or vase cease to be descriptive to become architectures of color.
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Zubeida Agha
Untitled (Vase on colored background)
In "Untitled (Vase on Colorful Background)", the light does not just illuminate: it gives its rhythm to the entire scene. Zubeida Agha constructs the space with frank flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase ceases to be descriptive to become architectures of color.
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Zubeida Agha
Untitled (Village scene)
In "Untitled (Village Scene)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Zubeida Agha constructs space through frank flat areas, angular rhythms and fiery contrasts; the city, the figure or the vase cease to be descriptive and become architectures of color.
View work at source →Body, sign and calligraphy
Sadequain and Ismail Gulgee give Pakistani painting two immediately recognizable languages. In Sadequain, the body tenses to become writing; in Gulgee, the letter changes into gesture, material and energy. THE religious or poetic sign leaves the page to occupy the physical space of the canvas.
Ismail Gulgee
Allah
"Allah" organizes the surface as a field of forces where color, contour and material respond to each other. Gulgee transforms calligraphy into a physical event: the thick oil, the trajectories of the brush and the chromatic bursts give the sign monumental power.
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Ismail Gulgee
Nathia
With "Nathia", the familiar motif is shifted to an experience that is more mental than descriptive. Gulgee transforms calligraphy into a physical event: the thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled - composition 1
The composition of "Untitled - composition 1" is based on a tension measured between figurative presence and autonomy of color. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and the chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled - composition 2
In "Untitled - composition 2", the light does not just illuminate: it gives its rhythm to the entire scene. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled - composition 3
In "Untitled - composition 3", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Gulgee transforms calligraphy into a physical event: the thick oil, the trajectories of the brush and the chromatic bursts give the sign a monumental power.
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Ismail Gulgee
Untitled (Abstraction)
"Untitled (Abstraction)" organizes the surface as a field of forces where color, contour and material respond to each other. Gulgee transforms calligraphy into a physical event: the thick oil, the trajectories of the brush and the chromatic bursts give the sign a monumental power.
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Ismail Gulgee
Untitled (Abstraction) - variant 2
With "Untitled (Abstraction) - variant 2", the familiar motif is shifted to an experience more mental than descriptive. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled (Abstraction) - variant 3
The composition of "Untitled (Abstraction) - variant 3" is based on a tension measured between figurative presence and autonomy of color. Gulgee transforms calligraphy into a physical event: thick oil, trajectories of brush and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled (Abstraction) - variant 4
In "Untitled (Abstraction) - variant 4", the light does not just illuminate: it gives its rhythm to the entire scene. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled (Two Abstractions)
In "Untitled (Two Abstractions)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled (Allah calligraphed)
"Untitled (Allah calligraphed)" organizes the surface as a field of forces where color, contour and material respond to each other. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled (Calligraphy)
With "Untitled (Calligraphy)", the familiar motif is shifted to an experience more mental than descriptive. Gulgee transforms calligraphy into a physical event: the thick oil, the brush trajectories and the chromatic bursts give the sign monumental power.
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Ismail Gulgee
Untitled (Polo players)
The composition of "Untitled (Polo Players)" is based on a tension measured between figurative presence and autonomy of color. Gulgee transforms calligraphy into a physical event: thick oil, brush trajectories and the chromatic bursts give the sign monumental power.
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Sadequain
Acrobats
In "Acrobats", light does not just illuminate: it gives its rhythm to the entire scene. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Calligraphy
In "Calligraphy", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Crucifix
"Crucifix" organizes the surface as a field of forces where color, contour and material respond to each other. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Crucifixion
With "Crucifixion", the familiar motif is shifted to an experience more mental than descriptive. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Figures
The composition of "Figures" is based on a tension measured between figurative presence and autonomy of color. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Four musicians
In "Four Musicians", light does not just illuminate: it gives its rhythm to the entire scene. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Painter in Paris
In "Painter in Paris", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Seated figure
"Sitting figure" organizes the surface as a field of forces where color, contour and material respond to each other. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Sunrise
With "Sunrise", the familiar motif is shifted to an experience that is more mental than descriptive. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Untitled (Figurative form in red)
The composition of "Untitled (Figurative Form in Red)" is based on a tension measured between figurative presence and autonomy of color. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; there human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Untitled (Portrait of a Woman)
In "Untitled (Portrait of a Woman)", the light does not just illuminate: it gives its rhythm to the entire scene. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Untitled (Portrait of a Woman) - variant 2
In "Untitled (Portrait of a Woman) - variant 2", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; fragility human takes on a mystical, social and theatrical dimension.
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Sadequain
Untitled (Rubaiyat-e-Sadequain)
"Untitled (Rubaiyat-e-Sadequain)" organizes the surface as a field of forces where color, contour and material respond to each other. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
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Sadequain
Untitled (Sitting nude)
With "Untitled (Sitting Naked)", the familiar motif is shifted to an experience that is more mental than descriptive. Sadequain stretches bodies into networks of edges, hands and calligraphic lines; human fragility takes on a mystical, social and theatrical dimension.
View work at source →Figures, doves and inner worlds
From the meditative nude of Colin David to the doves of Jamil Naqsh, from the solitude of Bashir Mirza to the dream landscapes of Raja Changez Sultan, the last part explores a more interior modernity. Lubna Agha, Laila Shahzada, Mansur Aye, Nahid Raza, Masood Kohari and Tassaduq Sohail show how ornament, dreams, memory and the body can renew oil on canvas.
Bashir Mirza
The Moon Art
The composition of "The Art of the Moon" is based on a tension measured between figurative presence and autonomy of color. Bashir Mirza combines frontal portrait, solitude and emblematic color; behind the apparent simplicity, each silhouette carries a precise psychological tension.
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Bashir Mirza
Compromise 6
In "Compromise 6", the light does not just illuminate: it gives its rhythm to the entire scene. Bashir Mirza combines frontal portrait, solitude and emblematic color; behind the apparent simplicity, each silhouette carries a precise psychological tension.
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Colin David
King David
In "King David", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Colin David grants the body a calm and dense presence, shaped by a restrained light and a palette that prefers nuance to spectacular effect.
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Colin David
Portrait of Colonel Colin Campbell
"Portrait of Colonel Colin Campbell" organizes the surface as a field of forces where color, contour and material respond to each other. Colin David gives the body a calm and dense presence, shaped by restrained light and a palette that prefers nuance to spectacular effect.
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Colin David
Untitled (Nude)
With "Untitled (Nude)", the familiar motif is shifted to an experience that is more mental than descriptive. Colin David grants the body a calm and dense presence, shaped by a restrained light and a palette that prefers nuance to spectacular effect.
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Jamil Naqsh
Plate 277
The composition of "Plate 277" is based on a tension measured between figurative presence and autonomy of color. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Back)
In "Untitled (Back)", the light does not just illuminate: it gives its rhythm to the entire scene. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; the sensual material and the flexible contours transform the recurring motif into intimate variation.
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Jamil Naqsh
Untitled (Calligraphy)
In "Untitled (Calligraphy)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Pigeons)
"Untitled (Pigeons)" organizes the surface as a field of forces where color, contour and material respond to each other. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Pigeons) - variant 2
With "Untitled (Pigeons) - variant 2", the familiar motif is shifted to an experience more mental than descriptive. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and the soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Woman seated)
The composition of "Untitled (Sitting Woman)" is based on a tension measured between figurative presence and autonomy of color. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; the material sensual and soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Woman and Dove)
In "Untitled (Woman and Dove)", the light does not just illuminate: it gives its rhythm to the entire scene. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Woman with the Dove)
In "Untitled (Woman with the Dove)", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and the soft contours transform the recurring pattern into intimate variation.
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Jamil Naqsh
Untitled (Woman with a Dove)
"Untitled (Woman with a Dove)" organizes the surface as a field of forces where color, contour and material respond to each other. Jamil Naqsh brings the female body and the dove into dialogue in a space without gravity; sensual matter and the soft contours transform the recurring pattern into intimate variation.
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Lubna Agha
Untitled - composition 1
With "Untitled - composition 1", the familiar motif is shifted to an experience that is more mental than descriptive. Lubna Agha organizes color into complex decorative fields, nourished by architecture and ornament, without renouncing the vibrant depth specific to painting.
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Lubna Agha
Untitled - composition 2
The composition of "Untitled - composition 2" is based on a tension measured between figurative presence and autonomy of color. Lubna Agha organizes color into complex decorative fields, nourished by architecture and ornament, without renouncing the vibrant depth specific to painting.
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Lubna Agha
Untitled - composition 3
In "Untitled - composition 3", the light does not just illuminate: it gives its rhythm to the entire scene. Lubna Agha organizes color into complex decorative fields, nourished by architecture and ornament, without renouncing the vibrant depth specific to painting.
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Mansur Aye
Untitled - composition 1
In "Untitled - composition 1", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Mansur Aye reduces the face to a melodic line and a few colorful chords, achieving an instantly recognizable elegance.
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Mansur Aye
Untitled - composition 2
"Untitled - composition 2" organizes the surface as a field of forces where color, contour and material respond to each other. Mansur Aye reduces the face to a melodic line and a few colorful chords, achieving an instantly recognizable elegance.
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Masood Kohari
Song to the moon
With "Song to the Moon", the familiar motif is shifted to an experience that is more mental than descriptive. Masood Kohari combines figure, dream and color in fluid compositions where the subject seems to emerge from a nocturnal light.
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Masood Kohari
Untitled (Two young girls)
The composition of "Untitled (Two Young Girls)" is based on a tension measured between figurative presence and autonomy of color. Masood Kohari combines figure, dream and color in fluid compositions where the subject seems to emerge from a nocturnal light.
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Nahid Raza
Untitled (Three Women)
In "Untitled (Three Women)", the light does not just illuminate: it gives its rhythm to the entire scene. Nahid Raza places the female figure at the center of a direct painting, where the body becomes the place of a social and emotional experience.
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Raja Change Sultan
Himalayan Odyssey
In "Himalayan Odyssey", the subject imposes itself first of all through the balance of the masses and the circulation of the gaze. Raja Change Sultan envelops the Himalayas and its figures with luminous veils; the real landscape rises towards an interior, almost musical vision.
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Raja Change Sultan
Himalayan Odyssey - Sunrise
"Himalayan Odyssey - Sunrise" organizes the surface as a field of forces where color, contour and material respond to each other. Raja Change Sultan envelops the Himalayas and its figures with luminous veils; the real landscape rises towards an interior, almost musical vision.
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Tassaduq Sohail
Untitled (Rider gathering horses)
With "Untitled (Rider Gathering Horses)", the familiar motif is shifted to an experience that is more mental than descriptive. Tassaduq Sohail populates his landscapes with riders, animals and worried figures; the tale shifts towards a dreamlike theater with unstable relationships of scale.
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Tassaduq Sohail
Untitled (Figures fleeing a boat)
The composition of "Untitled (Figures fleeing a boat)" is based on a tension measured between figurative presence and autonomy of color. Tassaduq Sohail populates his landscapes with riders, animals and worried figures; the tale switch to a dreamlike theater with unstable relationships of scale.
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Tassaduq Sohail
Untitled (Three figures and a horse)
In "Untitled (Three Figures and a Horse)", the light does not just illuminate: it gives its rhythm to the entire scene. Tassaduq Sohail populates his landscapes with riders, animals and worried figures; the tale shifts towards a dreamlike theater with unstable relationships of scale.
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