In his acrylic works, particularly the ‘Devotion and Resonance’ series, the layered textures and abstract forms speak volumes.....
exhibition
The scent of freshly primed canvases mixed with a whiff of nostalgia greeted me as I walked into the exhibition at the Alliance Française de Karachi. The air was thick with whispers of stories waiting to be uncovered, and in every corner, vibrant hues and delicate strokes demanded attention.
Sharjil Baloch’s latest exhibition effortlessly transcends boundaries, drawing visitors into a world where emotion and form coalesce. The display was a journey through devotion, resonance, and the fleeting whispers of time.
A native of Balochistan who now calls Karachi home, Baloch brings the eye of a seasoned documentarian to his paintings, capturing moments that feel like they belong to both the present and a distant, uncharted past. In his acrylic works, particularly the ‘Devotion and Resonance’ series, the layered textures and abstract forms speak volumes. Devotion I, with its harmonious interplay of gold leaf and acrylic, feels like a sacred chant rendered in brushstrokes - a silent offering to an unseen divine. The gilded tones shimmer, catching light in a way that mimics the flickering of faith amidst shadows.
Resonance IV, the largest of the series, envelops you with its vast expanse, pulling you into a meditative trance. The silvers and blues ripple like waves of memory, as though the canvas itself is breathing, carrying the viewer to a distant shrine in Sindh, where time melts and devotion takes root.
Baloch’s watercolour pieces tell a different story - one steeped in the lives of Pakistan. The ‘Dasht-e-Imkaan’ series captures the haunting beauty of barren lands, their quiet vastness broken only by the faint pulse of possibility. Dasht-e-Imkaan-02 is a symphony in muted browns and ochres, where the earth’s rugged texture bleeds through each stroke, evoking both resilience and surrender.
In Near Dolmen Mall, a watercolour that juxtaposes urban sprawl with the serene silence of a forgotten moment, the viewer feels a tug - a yearning to pause and reflect. It’s Baloch’s ability to evoke stillness amidst chaos that makes his work resonate so deeply.
Equally arresting are his abstract explorations of Karachi’s spiritual and cultural essence. The ‘Shrines of Sindh’ series invites viewers into sanctuaries where devotion becomes tangible. In these works, hues of saffron and crimson intertwine with smokey greys, creating a dreamscape where the physical dissolves into the metaphysical.
One of the standout pieces, The Bride of Evening, feels like a fleeting moment frozen in time. The washes of dusk colours cascade down the sheet like whispers of a story untold, while the delicate interplay of light and shadow transforms the ordinary into the extraordinary.
Baloch’s creative counterpart, G. N. Qazi, complements this narrative with his evocative depictions of Sindh’s shrines. Qazi’s works transcend the canvas, transforming into sensory experiences. The toll of a brass ivy, the faint echo of a bell - these are not merely symbols but anchors, grounding the viewer in a realm where faith and art converge.
It’s not just the visual splendour that captivates but also the emotional weight each piece carries. Baloch’s palette is a kaleidoscope of contrasts - anguish and beauty, hope and despair, devotion and doubt. In ‘Mohenjo-Daro: Our Past’ or ‘Future and Makli: The Living Necropolis’, his previous documentary work finds its voice in visual art, turning history into a living, breathing entity.
The Alliance Française de Karachi, a cultural cornerstone since 1954, provides the perfect backdrop for this exhibition. Its dedication to supporting artistic expression makes it a true home for creativity.
As I exited the exhibition, the words of Faiz Ahmed Faiz echoed in my mind, seamlessly woven into the soul of the show: “This assembly of anguish that is my land...”
Indeed, Baloch’s work captures that very anguish, but also the hope that rises from it, like the first light after a storm. Whether in the fluid strokes of his watercolours or the intricate layering of his acrylics, he invites viewers to see Pakistan as a myriad of emotions, contradictions, and infinite stories.
