Abid Hasan enriches us with tantalizing clues and shimmering verves by Dr. Arjumand Faisel
In 1999, on a particularly pleasant evening in Islamabad, I found myself eagerly stepping into Mobina Zuberi’s “The Art Gallery” in F-6 Markaz. The occasion was a solo exhibition by a then-emerging artist, Abid Hasan, whose works captivated attention with their innovative use of chemicals on gold and silver leaf. I recall being “moved” by the artworks, though at the time, I couldn’t fully articulate why. It was as though my soul had been gently stirred. This is the magic of true art—to feel oneself drawn inexorably into the depths of a piece, where the layers of meaning unfold slowly, almost imperceptibly. Abid’s creations spoke to the viewer with a voice both vibrant and yearning—a bright, hungry soul seeking to be heard. Each piece tantalized with visual clues, embodying a joyful spirit eager to reveal itself.
Over the years, Abid has honed his craft, mastering the creation of vibrant abstract compositions through the meticulous application of chemical processes and paints on layers of genuine silver and gold leaf, meticulously applied to canvas or board. The interplay of oxidizing agents on silver or gold yields textures that are both rich and unpredictable, over which he deftly overlays paint to construct compositions that are as aesthetically striking as they are conceptually profound. This mastery is the result of over two decades of tireless experimentation, refining a technique that is uniquely his own.
Since the inception of Gallery 6 in 2008, Abid has held six solo exhibitions, each met with enthusiastic acclaim from art lovers and critics alike. His compositions are nothing short of mesmerizing—glistening, intense, and brimming with energy. They resonate with a powerful inner voice that refuses to be silenced, embodying the artist’s indomitable spirit. The radiant hues and dynamic textures demonstrate an artist in full command of his craft, making statements that are as enchanting as they are bold, reflecting the luminous spirit that resides within him.
Abid’s brilliance emerged in the exhibition “Noor-e-Sehar,” a tribute to the poet Faiz Ahmed Faiz. This marked the beginning of his focus on defined themes, which added even greater depth and value to his art. The piece “Phir Noor-e-Seher Dast-o-Girebaan Hai Seher Se” mesmerized viewers with its intricate depiction of light breaking through darkness, while “Sehr Ka Roshan Ufaq Yaheen Hai” evoked the magical moment of dawn’s first light. On one wall of the hall was a stunning “ye dhoop kinara sham dhalay” and on another was a very evocative “Ayae Hath Uthain Hum Bhi….” painted with dark female figures. Very imaginative use of hands and finger prints narrated a moving tale of many innocent lives lost in war of terror in “Hum Jo Tareek Rahoun Mein Maray Gai”, and the will not to surrender was portrayed through collocation of ropes in “Zaban Pe Muhr Lagi Hai Tou Kya”. These were all works of creative intelligence and commanding skills.
“Sehr Ka Roshan Ufaq Yaheen Hai”
“Zaban Pe Muhr Lagi Hai Tou Kya, Keh Rakh Di Hai … Har Aik Halqa-e-Zanjir Mein Zubaan Mein Ne”.
“Ayae Hath Uthain Hum Bhi….”
Abid Hasan’s creative process and technique are as intriguing as the final artworks themselves. He begins by covering the surface—whether canvas or imported plywood—with a thin layer of gold or silver leaf. With a composition in mind, he sketches a design that emphasizes structure and balance. This initial mapping of lines leads him to develop shapes, creating a complex jigsaw puzzle that he must resolve. Layer by layer, he navigates this visual enigma, seeking solutions with the aid of various materials such as water, paper, cloth, thread, and rope. These elements refine the composition, lending it texture and depth. Abid employs methods like blocking out certain areas with wax or paper, depending on the desired imagery, before applying oxidizing chemicals to achieve sensitive surfaces with intricate textures. Finally, he applies paint in numerous ways to complete the piece, with one critical consideration always in mind: the presence of iridescent light. For Abid, it is imperative that his paintings shimmer, a deliberate choice to counter the chaos, tension, and gloom that pervade daily life. His work aims to create a positive, lively environment, bringing joy and serenity to those who experience it.
The mastery of Abid’s technique is evident in the captivating effects he achieves. His imagery is both original, introducing new symbols and visual vocabulary to the abstract art lexicon. The figures and designs, though meticulously planned, also convey a sense of spontaneity and fluidity, adding another striking dimension to his work.
It is well-known that colors play a healing and therapeutic role, influencing our thoughts and emotions in profound ways. They can alter erratic thinking, encourage a moment of pause, and even inspire positive impulses in creative minds. The color-field movement, popularized by artists like Mark Rothko and Ellsworth Kelly, demonstrated the powerful emotional impact of color. Indefinite shapes and patterns, akin to those of Howard Hodgkin, foster positive associations. Abid understands this deeply, and his use of bright, vibrant colors nourishes the soul in ways that are both conscious and unconscious. His art is a deliberate attempt to make the world more alive and cheerful, offering viewers a respite from the stresses of life. For an artist, there can be no greater reward than knowing that their work evokes positive emotions, inspires happiness, and instills a strong desire for acquisition.
Viewers of Abid’s work often express an almost inexplicable attachment to his pieces, describing them as sparkling with energy, vivacious, and imbued with a life-affirming positivity. His art is said to bring vitality, liveliness, and exuberance into any space, creating an atmosphere that motivates and energizes. These powerful reactions confirm that a meaningful dialogue has been established between the viewer and the artwork—an aspiration that every artist cherishes.
His upcoming seventh solo exhibition at Gallery 6, titled “Fractured Landscape – Flourishing Spirits,” will open on 13 September 2024. This exhibition showcases his innovative use of glistening, thinned-out colored metal foils, while also offering a thoughtful commentary on the current state of the country. The works reflect both the geometry of survival and the beauty of blooming amidst chaos, capturing the resilience and interplay of life within the tension between chaos and order.
Reflecting on Abid’s first solo exhibition in 1998, Ali Imam a leading art critic and art educator wrote in the newspaper “He is gifted with an inquisitive mind and painterly sensibilities, which nature bestows on few painters. He had been at pains to master his new medium with effects which are captivating. His mode of image building is expressionist abstract. The medium used helps him in structuring images possessing tactile quality. One would watch his further progress as he will try to climb the ladder to achieve eminence as a painter of significance”. Abid Hasan has more than fulfilled these expectations, demonstrating continuous growth and securing his place among Pakistan’s leading abstract painters. In his work, we witness the empowerment of an uncommon medium, transformed by the hands of a master.
