The riot of colours displayed on the walls of Gallery Louvre (GL) by Lahore-based artist Ahmad Zoay in a grand opening at the federal capital not only made its presence felt but also proved to be a gathering of a galaxy of art lovers from the twin cities who, despite the confusion involved in reaching the gallery, lauded the splash of colours by Zoay and appreciated the untiring efforts of curator Alina Saeed, and the gallery owner Saleem Lalani.
However, the viewers were of the opinion that it was not only the location of GL that confused them but also the information they were given about the location of the Gallery’s entrance. The latter was not properly built and there was no proper parking for visitors’ vehicles, commented a female visitor.
A male artist opined that it was not the artworks that attracted the art lovers but the easy access to galleries. “Gallery Louvre (GL) is one of the leading art galleries in Karachi, it is situated on the street’s facade level with ample parking slots in the heart of Clifton since 1999, but in the federal capital, the parking was under construction and the debris and construction material was spread out all over, outside the main gate of GL,” he commented.
Few artists opined that although the exhibition was wonderful and deserved to be put on display at the launch, the artists’ absence at the inaugural exhibition was not a good omen. “He should have been there at least, considering it is the inauguration of GL,” they said.
On the other hand, inside the gallery, around 50 acrylics on canvas paintings were put up for the exhibition titled ‘A World of Colour’, which were a treat to watch. An exuberant blending of opulent shapes and dazzling colour combinations are the signature component of Ahmad Zoay’s work. The artist’s lush figures are created from the sweeping lines of impasto dots and marks that form traces of ethnic patterns, articulated with definite feelings. Zoay’s images are intense, with an element of passion that transcends human emotions.
Muhammad Zahir Ahmad is known in the art world by his unusual adopted name – Ahmad Zoay. This duality is witnessed in his paintings too. His work is a combination of two – sometimes joint, often split- characters: two halves which are distant and yet compliment each other.
Zoay was at the National College of Arts (NCA) for two years but soon emerged as mainly a self-taught artist, with a distinct palette and typical strokes (The name Zoay was also acquired at the institution for some peculiar reason). Today, his work is recognised for its uncommon pictorial substance, colour combinations, and urgently-applied painting technique.
The notion of Ahmad Zoay as the individualistic non-conformist who stays away from centres of the art powers and is a misfit in social circles, is widely acknowledged. His paintings’ surfaces reflect this; they are vibrant, expressive, and rather explosive in appearance.
According to the exhibition description, Zoay is a square peg in today’s art set-up, belonging as he does to the ethos of Bashir Mirza or Ahmad Pervez. These are the artists he claims he could hang out with: colourful eccentrics no longer allowed to enliven the art scene. The artist left his studies at NCA, Lahore in 1971, and took a hippy-like journey through Afghanistan, Turkey and going on to Germany and other parts of the world.
Three years of such nomadic existence passed before Zoay returned to Lahore in 1974, where he was employed by the National Council of Arts. During this period, he spend his time in Kalash Valley where he carved forms from blocks of wood and strengthened his belief in the supremacy of nature, Marjorie Hussain writes in the book catalogue of the exhibition.
Talking to Pakistan Today, Gallery Louvre Owner Salim Lalani said that Zoay’s strokes pulsated against the canvas to invoke fables of a female that been long lost in occidental illusions. “Zoay tries to put the Indus Valley Civilization into his recent paintings and with figurative and sensuous forms, unravels the soul of colours. We see more than colours can show. In a culture where images are not welcome, Zoay’s creations continue to be inspiring, original and inimitable,” Lalani concluded.
The exhibition will continue at Gallery Louvre, House No. 8, Street No. 41, F-67/1, till November 14. It is strongly recommended that visitors use School Road instead of Street No. 41.
