Artist Iqbal Geoffery presents Pakistan as a hybrid: neither traditional nor modern
Images and texts are two sides of the same coin: they compensate for each other’s absence by telling the tale for the other.
But the story becomes much more interesting when both mediums narrate a tale side by side as each fills up crevices or fissures left by the other, making the whole more complete, more enjoyable. This rendezvous generally takes place at the artist’s den where the text finds its illustrations after leaving the desk of his writer. But sometimes the entire encounter springs up simultaneously as a result of an artist’s inspiration.
One such instance in the history of western art was Cubism where both elements were juxtaposed resulting in collages, initiated by Pablo Picasso and George Braque.
Cubism provided various vantage points of a singular objects as opposed to a singular perspective. Gradually this technique became one of the most favored by artists and art practitioners around the globe. Russian posters for politics and propaganda by El Lissitzky, or Raoul Hausmann the German artist’s collages, texts and images worked side by side providing various vantage points marking social protest and resistance.
In Islamic art and art of the subcontinent, text has always carried the banner of visual arts whether standing alone or accompanied by illustrations or illuminations.
Pakistan since its inception has been fortunate to have had produced some of the finest calligraphers of the world. Sadequain is one such celebrated artist whose service to calligraphy as an art form is immeasurable. One aspect of his contributions is that he re-established the broken link of poetry and visual arts in the twentieth-century modern art in Pakistan. His paintings featuring Ghalib, Iqbal and Faiz’s verses reinvigorated the lost appeal for Urdu and Persian poetry and reintroduced the new generation to its forgotten legacy.
Another remarkable deed of the great artist has recently surfaced – almost thirty-five years ago he presented his calligraphic works of Ghalib’s poetry to another well-established artist, Iqbal Geoffrey, with the intention that they be incorporated into the latter’s works of art (Geoffrey, possessing two angles to deal with life, is a visual artist and a lawyer). After two decades of deliberations and mediations, he has created a series of collages that were recently exhibited at the Zahoor-ul-Akhlaq Gallery in Lahore, titled Be:Cause. Living up to his reputation of questioning the status quo and his revolutionary thinking, these twenty-three collages are an attempt to make waves in a static and stagnant money-infested society.