The concept of ‘home’, on a philosophical level, is a complex and multifaceted idea that has been pondered by various thinkers throughout history. Martin Heidegger and Emmanuel Levinas stand out for their unique perspectives.
Heidegger sees ‘home’ as an integral part of our ‘being in the world’, where our existence is deeply rooted in a specific location and time. On the other hand, Levinas defines ‘home’ as a realm of duty and obligation to others, highlighting the ethical aspect of human connections. These contrasting views present ‘home’ as a concept beyond physical location, encompassing cultural, linguistic and emotional relationships.
Yet, it remains a deeply personal and subjective experience, with each individual’s interpretation carrying unique connotations, undertones and subtexts. What brings a sense of home to one person may differ significantly from another.
Home transcends mere physicality, a space where you feel an intrinsic sense of belonging, ease and connection. It’s where you forge memories, share experiences with loved ones and feel emotionally tethered.
The recent solo show titled ‘Home’, by globally acclaimed Pakistani visual artist Imran Qureshi at the COMO Museum of Art in Lahore, is a profound illustration of the concept. Qureshi’s work, with its unique interpretation of the fragile interplay between life, death and beauty amidst destruction, frequently sets the colour red against contrasting coloured canvases.
Imran Qureshi’s latest, multidimensional, experiential exhibition, which investigates our sense of belonging with a mixture of beauty and destruction, proves why he is one of Pakistan’s most important artistic voices
However, his work is not limited to only two-dimensional surfaces, as he uses walls, floors and rooftops that resemble blood splatters from afar — and, paradoxically, look like beautiful flower patterns as well — to symbolise violence. The individual strokes often also look like Urdu/Arabic alphabets, indicating life, hope and rejuvenation at a closer introspection. His art encourages viewers to find beauty in disorder, and to ponder the cycle of violence and healing.
Qureshi’s recent, multidimensional, experiential works on display amalgamate ceramic tiles with terrestrial demarcation, usually observed through aerial imagery or a collection of broken, fragile substrates one sees on the floor. This can be a form of resistance against forces that seek to divide or isolate individuals.
There are photographs of the urban and semi-rural set-ups not explicitly defining ‘home’ in the usual way but, instead, the essence of what home means to those estranged from it — where home is remembered, idealised and longed for, often shining brightly in memory and hopes against the harsh realities of the present.
Whether we talk about home as a dwelling made out of brick and mortar — a place with physical attributes — or call a country a homeland while living abroad — either as an immigrant or a refugee — both provide a sense of adherence and influence values, beliefs and conventions, shaping one’s identity and worldview.
This in turn contributes to a sense of security, community and social connections, autonomy, roots and, importantly, nostalgia — a fundamental part of one’s perspicacity. Yet, the spectacle unfolds differently every time we explore this notion — personally or collectively, as Qureshi has done.
Once on the rooftop of COMO, a different narrative awaits viewers. The area is covered with colourful decking made with woven nylon string and stretched around light metal frames — such as the one used to make charpais in South Asia. The patterns again show a very basic colour palette — yellow, red and blue, which is used from Sindh to the Cholistan desert, across all regions of Punjab and some parts of Khyber Pakhtunkhwa, with a highly stylised form of the geometric flower as a repeated shape in the immaculately calculated grid system. Generally, this is known as the phulkari technique, which has been extensively used and has evolved in this region over the last few hundred years.
That massive installation elucidates the illusion of the two-dimensionalities present in Mughal-era miniature paintings. This installation’s colours and interactive nature remind the onlooker of celebrating hope, which is aligned with the arrival of spring and the custom of rejoicing in the weather by getting together on the rooftop or in the garden.
Qureshi’s art practice is indeed a form of resistance in various ways. It contributes to viewers’ sense of self and identity by challenging dominant narratives, and offering alternative perspectives on history, culture and identity. It openly addresses political dissent, to understand unjust regimes or public policies seen as oppressive or unfair. In doing so, it reclaims control and agency, to impart a sense of community and collective identity, critically and thoughtfully.
A naive observer might censure Qureshi’s work, as it keeps showing similar patterns, in which bloodshed, flowers and warfare take precedence repeatedly. On the contrary, a shrewd critic might present an analysis as to who should cease the activity first: new warlords or the artists depicting borders, conflicts, turmoil, warfare and the atrocities caused in their paintings and installations?
As conflicts in the Middle East rage on, anchors on television and friends in drawing room discussions alike profess that the world is heading towards a third world war. Fingers crossed that nothing like this happens and no one has to experience exile or be expelled from a city or country that one considers home.
Nevertheless, blood is being shed in many shades of red. Yet, as Qureshi reminds us, hope too remains intact in its unique expressions.
‘Home’ is on display at the COMO Museum of Art, Lahore from February 26-June 30, 2024
The writer is an art/design critic. He heads the Department of Visual Communication Design at the Mariam Dawood School of Visual Arts and Design, Beaconhouse National University, Lahore. He can be reached at aarish.sardar@gmail.com
Published in Dawn, EOS, April 21st, 2024
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