The students of Master of Art and Design Studies at BNU, recently displayed their thesis work under the guidance of Prof Quddus Mirza and Ammar Faiz. The graduating class utilised various media and lenses to delve into the complexity of human experience. Their work encouraged viewers to embrace uncertainty, challenge power structures and critically examine everyday objects and narratives shaped by nature.

Alizey Nadeem examined how cognitive perception and the psychological effects of AI-driven emotions influence our understanding of empathy in today’s world. In her interactive game, players are led to believe they have the freedom to make choices. However, these choices are ultimately analysed by artificial intelligence, which takes control of human thought processes and challenges the notion of true decision-making. In this experience, the mind of AI and the memory of human behaviour work together to create an illusion of free will.

Tahir Zaman’s use of thorns evoked a complex mixture of discomfort and harmony, reflecting the harsh realities embedded in our social memory. His work addresses social hierarchies, power dynamics and the challenges faced by marginalised communities that are often overlooked as a collective experience. Through the imagery of thorns, Zaman revealed these harsh truths, drawing the viewer in such a way that thorns served as a tactile language expressing pain, privilege and exclusion, acting as a form of social critique. His art confronts prejudice, using the sharp and piercing nature of thorns to expose the structures that divide and oppress. At the same time, his work symbolises the resilience of those who navigate these power dynamics, offering a compelling visual and emotional experience.

Mashhood Talpur and Riyaz Mangi, both hailing from Sindh, coincidently, bore a striking similarity in their work, possibly due to their choice of similar objects and colour palettes. This resemblance made it challenging for the viewer to distinguish their styles. For instance, both prominently featured black in their pieces. Mashhood suspended black spheres with a reflective steel finish, while Mangi arranged hand-sized spheres in spoons, drawing white lines across them.

There are two main aspects to consider when comparing their work. Firstly, they employ different techniques. Secondly, their presentations differ significantly. The exhibition of their pieces was thoughtfully curated and the space itself was well-designed.

Riyaz created a series of sculptures using a 3D printer, arranging them in alphabetical order. The artist featured small sculptures representing each letter of the alphabet, starting with “A” for alarm and “B” for boat. Each object reflected influences from the colonial era and emphasised their impact on the cities where they were significant, to represent a map of the world.

Riyaz’s work illustrated the effects of the colonial era on countries that were under imperial domination. The artist used spoons as a metaphor for “spoon feeding,” symbolising the exploitation experienced in those occupied nations.

Talpur’s work, on the other hand, centred round the theme of nothingness, utilising black and mirrored balls to represent the concept.

Interpretation of art can vary significantly among viewers; every individual may bring a unique perspective. While some may find resonance with Talpur’s explanation linking “something to nothing” with the Big Bang Theory, others may not easily perceive that connection. Such varied interpretations highlight the subjective nature of art and its impact on diverse audiences.

In contrast to Talpur, Ali Abbas’s drawings followed a unified theme even though his abstract style may give them a fragmented appearance. Talpur’s art tells its own stories, and the messages Abbas intended to convey are evident in his paintings. His depiction of workers and associated issues is beautifully captured on canvas.

The artist had deployed embroidery machine as his tool of choice in such a way that it appeared that some workers were engaged in his painting and embroidery. Their worn-out clothes; the cloth in which they bring food from home to share; and their overall work environment were all depicted through embroidery on the fabric surface. This technique served as a powerful metaphor for connection, as embroidery stitches together and repairs wounds.

The writer is an interdisciplinary artist and educator based in Lahore