itnessing the atrocities humans inflict upon their own kind and nature takes its toll on the mind, body, and soul. As a child, I was often fascinated with a character in an arcade videogame, most beloved in the gaming fraternity: Street Fighter. This character, who goes by the name Blanka, is a green monster enraged with absolute fury who zaps its opponents with electric shocks. Many years later, I came to discover that the beast was once an ordinary man who was forcefully shown documented footage of various wars and similar atrocities while being strapped to a chair. Upon seeing the horrors that mankind is capable of administering, his facial and physical features became abhorrent, symbolising the sadistic nature of the content he was shown. As of now more than ever, I am constantly reminiscing about this character as I feel we all are turning into similar monsters. One may also wonder about the plight of the people who are exposed to such barbarity.

Two such individuals share their encounters with war, death and displacement artistically in an exhibition currently on display in Echo Space Gallery, Lahore. The show, Two Parallel Lines, curated by Shahzaman Baloch, showcases the profound practice of Parachinar-based artist Maisam Hussain, imagined and documented through the lens of photographer and filmmaker Hassan Raza Khan, who hails from Quetta.

In contrast, Hassan Raza Khan captures the seemingly serene landscape of Maisam’s hometown in a colour-reversed effect. The monochromatic negative and the dark clouds in the photograph adumbrate the sinister activities of fanatics who target the northern areas.

The display, too, runs in parallel lines, facing one another. One wall contains the artistic practice of Maisam Hussain, which has been deeply influenced and molded by his experience with sectarian violence in his hometown, while the adjacent wall presents his journey and the circumstances which have led to his artworks, documented by his collaborator, Hassan Raza Khan.

Hussain recognises gunpowder not only as a utility product or a medium in his artworks but also as the sole culprit that has fueled his artistic expression. He tends to imitate the bullet holes and marks of bombing which are etched into various walls of his house and in his mind, too. He paints the patterns in a systematic way: in the middle of each mark there is a void, cold and dark, staring into the eyes of the spectator. Then it expands in all directions in burnt umber tones only to stop suddenly as if it exhausted the flame which burned it. Surrounding this char is a clear boundary that distinguishes it from the surface it is imposed on, like an isolated island cut off from the rest of the world. Each of these individual marks is carried on the cloud of smoke that follows them like shadows.

In contrast, Hassan Raza Khan captures the seemingly serene landscape of Maisam’s hometown in a colour-reversed effect. The monochromatic negative and the dark clouds in the photograph adumbrate the sinister activities of religious fanatics that take place in the northern areas. The photograph encapsulates all the natural resources of the region used for the nourishment of the community: vast fertile fields, snow-clad mountains and a large pond; even though there’s a dearth of life. It seems that the cameraman is the only living being daring enough to breathe in the open air.

Maisam deploys his signature marks in a number of compositions. For instance, the same smoldering effect would be aligned in grids of passport-size pictures whose faces can only be deciphered through the condition of pareidolia. In addition, he would write letters or affidavits in ‘dextrosinistral’ (right to left) script which is common in the country. Sometimes these testimonies would also include signatures and pictures of witnesses. The redundancy of these marks in his practice solidifies their omnipresence in his life and his hometown.

The representation of these gunpowder marks is part of Maisam’s journey as a survivor of violence and unrest pertaining to his region. A more detailed and visual portrayal of his struggles is archived through Raza’s research, not only on Maisam’s artistic practice but also on the resilience of the community to which he belongs. The war has not only affected the walls of the homes of its victims but it has also left an indelible mark on the society of these regions. Raza gathers evidence of the corruption that infests the younger generation as well. He captures children holding weaponry instead of toys or the portraits of a loved one who either vanished or departed forever.

The writer is an interdisciplinary artist and educator based in Lahore