Portraying an artistic realm ‘beyond borders’

New Delhi-based Vadehra Art gallery is currently hosting an exhibit of recent works by renowned artist Faiza Butt. Entitled ‘Aalmi’ this incidentally is her first solo in India. The term in Urdu denotes universal, a concept which is very much dear to the artist. It stands for a realm beyond borders, both conceptually and physically. What are the other noteworthy aspects of her series on view? We take a quick look: 

Series of works named ‘One’

In this series, the artist looks at the objectification of women and the relationship between religion and sexuality in response to taboos and views towards the female body in Islamic cultures. A woman’s mouth seductively plays with a bejeweled pendent in the shape of the word Allah. Butt speaks to the consuming nature of religion and faith and to the challenging interplay between the worldly and the spiritual. The pendent presents two distinct affiliations—one of high class and one of religious devotion. For some these associations are at odds, while others see them going hand in hand. What is emphasized is the primacy of the word itself. 

‘My Love Plays in Heavenly Ways’

In the series, ancient Chinese dragons are locked in combat with the artist’s young diasporic sons. The work addresses a personal mythology – a game, played by Butt’s sons, in which the young boys attack make-believe dragons slithering on their beds in the form of blankets. The imagery is reminiscent of precious blue Chinese porcelain. The border of the work has hairdryers and tennis shoes interwoven with more orthodox depictions of dragons, koi fish, and flowers. The mythic and the banal collide in an image - both an expression of innocence and violence.

‘Zevar Zanjeer’

The importance of words is further explored here by depicting a poem by Faiz Ahmed Faiz in the form of a large freestanding light box. On one side is the original poem in Urdu and on the other, an English translation. On the side bearing the original text, the words are assembled from bejeweled weapons and pieces of raw meat. On the reverse, the translation is inscribed in honey atop a background of colorful trash bags and debris. Language itself takes on an aesthetic quality. Faiz’s poem addresses his time in prison in beautiful, lush language. As the title suggests the words like the poet are in captivity.

To sum it up, the works that form part of the solo exhibit expertly juxtapose vivacious cultures from different eras.