LAHORE
In the last decade or so the way our nation lived, prayed, ate, thought, all that has survived has gone through a rapid and magnified change. S.M. Mansoor is not new to the art scene. He has bagged numerous exhibitions both at home and abroad, penned two books apart from being an art educationist.
Like Plato’s mention of the sinking of Atlantis, Mansoor’s work weaves a tale of rapid and violent change that stimulated us socially, politically, economically, above all personally… Vogue Art Gallery was the venue for the Modern Miniature Paintings by Prof S.M.Mansoor, amidst art lovers, friends, family and students the exhibition was a humble event.
History as a bridge to the present: The artist has gracefully changed the notion of contemporary and traditional miniature in presenting within Mansoor’s Miniatures his thoughts, his ideas, his personal amalgam of fluid modern elements within rapid traditional imagery.
In the works, history serves as a bridge providing necessary path towards the present, in other words the tools of yesterday are used to construct tomorrow’s milestones.
A maestro and visionary rolled into one, the elements used in his works are as diverse as his works. Rather than choosing one theme or topic Mansoor manages to jump from topic to topic, perspective to perspective with such fluidity that the viewer hardly gets the chance to divert attention the work encountered.
The miniatures are the work of representing parallels; co-existing but hardly sublime or merging. The two dimensional bleeds into a solid object with quite ease. Spontaneous, semi-abstract, rich in colors and using textures, his iconography on the other side gives way to his background as a designer.
Exploring contemporary social and political mahem: The works are present a challenge that the artist proves himself capable of fulfilling. Exploring, deciphering and re-creating the social and political mayhem around, is not only painstaking but also mesmerizing.
It requires a steady amount of introspection within the artist which is reflected in the art produced. Drone attacks, terrorism, the, “armorization” of our once humble cities, is presented with stunning silence and vivid iconography.
Works such as Operation Clean-Up, Bio Matrix and a Royal Procession at Check Post show symbolic yet aesthetically powerful images of the recent waves of violence, fear, and intrigue that have become part of the social pattern that have come to bind us.
The simple and the complex: Whereas these works deal with the new and hard-hitting aspects or our lives Mansoor doesn’t really give up the other factors that exist here. Horse trading under the umbrella, The mask, The Labyrinth are works that represent the red-tapism, the commercialism of the self, and corruption that has become part and parcel of our bone marrow.
The artist identifies this environment which he makes himself very much a part of, but distances it from his overall self. The political, the social and the scars from the past leave their marks on both Mansoor and the world that surrounds him. In the works Angry Monsoon, 1st Installment, and “8:56 am 8 October, 2005” Monsoor presents three works that are reminiscent of the tragedies that have not only moulded us but have lingering effects for the generations that are yet to come.
Murky, dark, haunting reality: With such strong imagery and topics that are close to the heart Mansoor weaves a pattern one string at a time, all bright colorful and exuberant, yet the completed piece is much murkier, dark and hauntingly beautiful. Like an enchanted yet cursed melody these art work provoke a silent trigger within one’s brain waiting for the right image to hit it.
The artworks are not mere aesthetic creations. They require one to interact with them and unveil their many layers. Provoking in their own artistic independence the works retain a drawing room friendliness, brought about by their relationship with socio-historical issues. SM Mansoor deals with these environmental yet personal demons with a gentleman’s charm.
Offering simple, designed visuals and using serene imagery Mansoor’s Miniatures offers a gush of much needed air to a drowning individual. The exhibition is a must see for individuals who want to experience depth in both the ordinary and that which they have experienced only as Breaking News.
The writer is a student of National College of Arts and uses a pseudonym
