Tanzara Gallery to hold three-person exhibition `Echoes and Resonances’

ISLAMABAD, Nov 11 (APP): Tanzara Gallery has announced to hold three-person exhibition titled “Echoes and Resonances” featuring the works of prominent artists including Farazeh Syed, Laila Rahman and Saulat Ajmal from November 14 (Thursday).
“Echoes and Resonances,” is a poignant and thought-provoking exhibition featuring the works of Farazeh Syed, Laila Rahman, and Saulat Ajmal at Tanzara Gallery.
This three-person show weaves together diverse artistic voices, each exploring the complexities of human experience through unique perspectives. The exhibition will continue till November 27.
Farazeh Syed’s introspective drawings inhabit the liminal space between observation and rendering, where the external world meets the internal. Her subjective language of drawing speaks to the innate impulse to create, capturing the essence of the unseen – visions, memories, and imaginings.
Laila Rahman’s evocative works center around the circle, a symbol of infinite possibilities and connections. Her art contemplates loss, longing, and the human quest for meaning, reflecting on the fragile balance between chaos and hope.
Through her pieces, Rahman invites us to contemplate the transcendent power of memory and connection.
Saulat Ajmal’s bold, spontaneous paintings defy rationality, embracing chance, interruption, and risk. Her creative process twists time and convention, forging a space where doubt and hesitation fuel vivid movement and ambiguity.
Ajmal’s works inhabit the feminine sublime, where impulsiveness and self-determination reign, unbound by societal expectations.
Together, these artists create an immersive experience that resonates deeply.
“Echoes and Resonances” is an invitation to explore the intersections of memory, loss, and connection, where the familiar and unknown converge.
As one navigates these liminal spaces, he finds echoes of his own experiences, and the resonance of the human condition.
According to the artist, Farazeh Syed, drawing is a subjective language for me, its directness speaks to the innate impulse to make a mark and render shape. It occupies the liminal space between looking and rendering, where the surface becomes the meeting point of the external world—in the form of an object or stimulus—and the internal world—in the form of the unseen; a vision, a memory, an imagining.
In her statement, Laila Rahman says the circle is a space of infinite possibilities, having no beginning and no end. Its continuum is comforting because, for me, it speaks to connections that bind me to all I have lost… people, homes, and gardens. To feel connected to other people and places is the essence of living life. But “…when gardens become arid wastelands…” there is pain and sorrow, in the contemplation of all that is unretrievable.
So, while chaos may surround and overwhelm us, the hope of the enchanted garden in an unending circle remains both like a benediction and a promise. Excerpt from Roots, a poem by Heer Cheema, my daughter.
According to the Saulat Ajmal, her practice includes paintings, performances and installations, where form and function are at odds with rationality.
Her creative process finds its origin in chance, interruption, and spontaneous decisions that make it inherently risky. Time does not unfold as valuable, but instead bends and twists upon linking the works in the moment of their reception to the here and now.
In this comfortable but demanding process, doubt and hesitation as productive forces replace a certain compulsion for forward motion in her paintings and instead create confusing, vivid movement, disturbance, and ambiguity. Impulsiveness and self-determination suffice as dynamics. Painting itself enjoys the independence from societal recognition.
This play of risk, chance and recoil from the familiar is where her works enter the space of the feminine sublime.