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Tales Untold
Tales Untold

Tales Untold

15 artists showcase their creations stunning onlookers

Lahore: For art enthusiasts, collectors, artists and art critics, it was a pleasure to witness a brilliant group art show titled ‘Tales Untold’ by 15 visual artists at the Art Soch Gallery in Gulberg II, where 33 artworks, along with two installations are placed.

Speaking to Bol News, Visual Artist Emaan Pirzada said that her art practice revolves around the term ‘Topophilia’, a strong sense of place. Her work is the product of diverse experiences that she lived through. Moving from place to place and being displaced frequently created an urge in Emaan to preserve those places. She documented these spaces, not particularly how they were, but her understanding of those tangible surroundings.

For art enthusiasts, collectors, artists and art critics, it was a pleasure to witness a brilliant group art show titled ‘Tales Untold’


“My spatial experiments unapologetically challenge the natural laws of psychics and perspective, choosing to reassemble and alter the interior home space, forming a surrealistic mind palace,” she shared.

She has contained/enclosed these spaces in a traditional oval format, seen in old manuscripts which were specifically used for portraits of kings and queens. Emaan has used traditional miniature borders to enhance the significance of the spaces, along with glorifying them to express her affiliation.

Artist Adnan Ali is presenting his works in sculpted forms for the first time in his career. He has seen many hardships. Adnan was trained at the National College of Arts, Lahore, as a miniature painter and has been painting since 2014. He has worked with oil, acrylic and watercolour. Regarding this theme, Adnan believes that the Pakistani currency is a surface of emotions on which one can use the right tool to portray the outcomes of friendships and relations as it reveals the true nature of a person when exposed to the shadows of difficult times.

“I’ve observed the behaviour of a society towards the notion of hard-earned money and wanted to show my experience through these artworks in this exhibition,” he concluded.  Artist Haniaa Maryam’s whole theme is ‘Solace’, medium Gouache on Wasli (miniature technique).


“My idea behind the art is based on my personal experience. Solace means a helping hand. I have been suffering from nightmares, and somehow they are connected with me,” Hania pointed out.

She is expressing an emotion connected with us that wakes us up when nobody is there with us. In her art, she usually tries to show the events and emotions at the exact moments, such as her experience with nightmares and the emotion that she gets from them.

“In my work, the representation of deer is ‘me’, symbolically in the nightmare, drapery showing as a symbol of revealing and unrevealing,” she concluded.

Artist Hadiqa Asad said that she is always into detail and minimal art, as you can do so much without making it look ‘too much’.

For Artist Mahnoor Salman, it is more letters than body, more words than just this skin. Handwritten letters have always been something special to her as they spill nostalgic longing, loss and love. As an introvert, they are one of the best ways for her to articulate her feelings.


“In the times of text messages, the idea of handwritten letters has always been more intimate to me, expressing the rarely spoken words and feelings and keeping them intact. It is an art in itself, the art of carefully putting the words to express love, to preserve a memory or to convey feelings which then don’t remain just words anymore, rather it becomes an embodiment of a soul,” Mahnoor said.

Her artistic practice is based on her personal letters, the letters as her way of letting out the piled-up emotions inside her. Mahnoor has preserved different emotions inside them, different moments that she has experienced in her life, the special ones which she wants to keep with her for a longer period so she can always read them again after years and experience it all over again.

“I have painted them in ways to try to keep the nostalgic essence alive. Old photographs and pressed roses have also been an essential element alongside, depicting the timeline, how time is passing by but the emotions are still alive in them,” she noted.

The purpose behind it is solely to show how meaningful it is that we put parts of ourselves in those pieces of paper, those parts which are not exposed to anyone, the secret parts, the hidden ones and share them with others or keep them for our future self.

Maria Aamir’s artworks attracted a lot of art enthusiasts and critics as she depicted popular culture as ubiquitous, a situation of constantly fluctuating interaction between various narratives, beliefs and practices that are dominant in our society.

“It incorporates the most immediate and contemporary aspects of society that are often subject to rapid changes as well,” Maria said.


Through her body of work, she as a citizen of Pakistan is reflecting on the society we live in. By using wit to draw attention, these compositions incorporate the local popular culture in which she is humorously commenting and critiquing the bitter realities of our society.


“My work engages with the subjects such as the toxicity of ‘rishta’ culture in our desi families, the embedded notion of an ideal fairer skin, the double standards of religious leaders, the exhibitionist culture of our elite class as well as the maniacal consumerist behaviour on sales days,” she stressed.

Visuals in Maria’s work are a blend of local popular icons and symbols along with the addition of text as the main component, to create irony and satire.

For artist Mina Haroon, throughout history archaeologists have discovered various civilisations and their people through the recovery and analysis of material culture. The objects contain acts and actions of time within them and our memories are inlaid in those objects that define human existence and its cultural significance.

“The relationship between people and its objects marks the human identity and its existence in its absences,” she said.


For her, the culture of giving dowry to daughters is still practised in South Asia and especially Pakistan which influences the lives of women in many ways.

“These jewellery pieces are in the possessions of different people from their dowry and are expressing the stories of their possessions,” she shared.

Mishal Pasha artworks revolve around her personal experiences related to childhood trauma, and directly related to the masculine gaze. Growing up in a society where women experience unpleasant encounters with men every second, whether in private or public spaces. She uses mixed media in her work to engage the viewer with her concerns. Sana Zaidi’s artworks are about the relationship between the dead and alive. She explored this while reading the poetry of her late grandfather which influenced her to write a poem which became a part of her paintings.

“The connection which is created between us through these rhythmic lines of poems is depicted in my artworks,” she states.

Sana’s work is an illusion of conversations between them which emphasise the power of love and poetry and how it raises the soul if said all by heart.

For Sidra Liaqat brush and paints, being her needles and threads, delicately knit every stroke into a junction with the other to construct the metaphors of connections between the conscious and subconscious, an individual and the society, past and present, time and relative state of existence, in the form of knitted fabric.


“The intimacies derived from the subconscious, presented in eye-pleasing compositions, create the desired gratification. Subconscious thoughts tend to form a repetitive pattern which shapes the conscious acts thus creating a cause and effect relationship between the two states of mind,” she concluded.

Sujjal Kiani’s art speaks and shows emotional involvement. He has found maturity with materials, techniques, and thought processes, yearning to explore different levels of grounds to work on other than canvas, with the freedom of interpretation allowing him to look at the world with a fresh pair of eyes.

“Healthy criticism of your artwork is a powerful gift one can offer to any artist. One can completely agree or disagree with the conceptual thought and technique the artist brings in his or her work, but as long as your artwork speaks to the people and what they have to offer in return is sufficient,” he said.

For him, the journey of his work ethic from thesis till today is evolving, like Exploring and connecting a dot between past, present, and future with objects which become irrelevant with time and making them significant in the eyes and psyche of the citizenry.

“As I tried to reinvent the art of letter writing which fades away in time and technology as an artist, I question my role in society and what I can propose and contribute more as an individual,” he said.

Sumbal Sultana’s work is based on the statement, “What a man sees depends both upon what he looks at and also upon what his previous visual-conceptual experience has taught him to see” by Thomas Kuhn. The stubbornness of human behaviour related to these factors disturbs the artist’s concept of what personal freedom of choice should look like. Is this the true knowledge that we observe or there exists a greater reality of this world? The artist inquires certain questions through her work; she evokes a sense of unfamiliarity projecting the imagery in an uncanny setting. She explores how these constructs of race, culture, mortality, beauty, etc are pre-conceived in our minds and to what extent a human being is affected by these societal factors.


Wajeeha Batool’s work deals with the relationship between digital language and the forms and patterns in nature, that surround us and are part of our daily observations.

By combining these two extreme ideas: a digital language of pixels and observations from nature, she wants to create an appreciation of small observations of nature that we often ignore. Wajeeha tries to capture the little details present around us in nature and depict them in her own way that is very crisp but poetic.

“Earlier inspiration for my work comes from fairy tales, movies and video games that are a major part of our childhood memories,” she concluded.

For Artist Zareen Ashraf, tragedy gives birth to another beginning. Her work is about appreciation and acceptance. Ends and restarts are the phenomena of life. The overlapping of symbols in her painting shows how things decompose and new things take place. This all happens when we accept the happenings, appreciate the conditions and struggle for betterment.

“My work is the response towards the events that happen in life. I generalise the idea by using symbols. My work is based on a mixed medium as I use charcoal, fabric collage, thread knitting, applique work and acrylics on canvas,” she said.


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