Creating a sense of security Art and culture.


T.They demand the present time to replace the English word ‘security’ with ‘insecurity’, especially in the Pakistani context. Regardless of whether you are in a privileged sector or in a low-income area, you will definitely find homes with an exceptional architectural feature: security. Once the building is complete, several security installations are installed before residents can enter. In addition to the traditional methods, which include erecting high boundary walls and fixing broken pieces of glass above the walls, more spacious, elevated, elegant, home, office, government complex, synagogue, public park, shopping mall or recreation. Complex and cruel methods of protecting people inside the site.

in this Hundred years of loneliness.Gabriel Garcia Marquez describes the epidemic of insomnia in the legendary town of Maikondo. As people forget everything there, a character uses an ink brush. “Everything with its name: table, chair, clock, door wall, bed, pan. Marked: Cow, goat, pig, hen. “The town of Maikondo was ready to fight against memory loss,” so he hung a mark on the cow’s neck: “This is a cow.” She should be breastfed every morning. It was only when residents regained their memory that they realized the futility of these tags.

In a way, the people of Pakistan are not suffering from amnesia but blindness. A home, as a result, is not just a combination of bricks, mortar, stone, steel, wood, glass, plaster and paint. Extensive protective apparatus is installed as the final fixer on an architectural creation. This is a master stroke. These include railings, grilles, barbed wire, laying of brick layers to the front walls, corrugated aluminum sheets around the entire structure, concrete blocks reinforcing interior areas.

The prevailing style of buildings, which can be called ‘SecureTexture’, is perhaps the most original contribution to the field of architecture from 21st century Pakistan. In her work, Sehar Naveed responds to the heinous trend of welcoming you into the home with a strong sense of hostility. Doors of different strengths, scales and materials are disconnected before you are taken to a room away from the entrance, which is cool, comfortable and pleasant unlike the exterior.

Sehar Naveed has decided not to ignore the entry. In her work for her solo exhibition, Continent (April 24-May 29, Icon Gallery, New York), she shows the barriers that have become an essential, yet hidden type of our social existence. Naveed presents the concept, the craze for construction and security from two perspectives: the individual and the state. They show the spikes in the houses, the girls, the fences, the bars and poles, as well as the parts of the luggage containers that the government uses to block the streets to stop the protests. In this way, she draws a parallel between two security mechanisms: to protect a home from predators, intruders, and thieves. And the siege of a civic site by political opponents.

Both of these devices work to keep others away and maintain a quality of life. Both are afraid of the unknown, the unexpected and the uncontrollable. The fact that such security measures have become commonplace in some societies means that nothing and no one is safe. Just like the presence of locks shows the weakness of the house. Increasing numbers, positions and the use of a variety of protective equipment suggest a weakened state of society. Of Necessary Gadgets have become an integral part of our lives.

The prevailing style of buildings can be called ‘security’. This is perhaps the most localized contribution to the field of architecture from 21st century Pakistan. Sehar Naveed responds to this new and dirty trend in which even while welcoming you into the house, its external layout gives a strong sense of hostility..

Sehar Naveed has illustrated this situation in his carefully presented pencil on papers. She draws entrances with extra walls, rows of metal rows, strong doors with spikes, and so on. None of this is strange, shocking, or embarrassing for a citizen of the Islamic Republic, as they are now part of a new routine (such as face masks, surgical gloves, and hand sanitizers at the age of 19). Naveed goes ahead and tries to dig out the beauty from these tragic conspiracies. One of the surprises in the series, called Contraceptions, is hung in graphite on paper, with the door parts documented with their protective equipment.

If one removes the context of the city, the state of political survival, the threat of terror, the fear of intruders, one begins to enjoy sensitive levels, the composition in these works attracts details of intimacy. ۔ Because of their two-dimensionality (a metal door is a kind of two-dimensional object), and the artist’s choice to present elevation and side views on the same flat surface, the works look like exercises in formal, abstract imagery. -Flat shadows as observed by Italian artist Giorgio de Cherico. “There are more mysteries in the shadow of a person walking in the sun than in all human religions, past, present and future.” Similarly , Increased The shadows of these houses offer more than we stumble upon.

In other works, titled Protest Wall, Naveed makes the outer sides of the goods containers. Their sections, directions and illustrations affect the concept of geometry and abstraction. Introducing the Grossvenor Gallery, he says, “Painted surfaces give rise to civil livity, and Joseph Alborz’s color theory work.” Naveed also makes three-dimensional pieces, pyramid-type sculptures (tips) that are embedded in the ground like pieces in a metal container or pressed inside a gallery wall.

A similar pattern can be seen in his works on paper, which have a variety of colors, shades and colors. Naveed’s preference in color, arrangement and detail is prominent because this work – coming out of the dark background of Pakistan’s constant problems, has remarkable visual aesthetics in its aesthetics. The corrugated walls of the container, the lines on its side, the oblique approach to represent its depth, certainly illustrates a harsh reality. Once out of context, these are abstract exercises – or escapes.

The aesthetics of the abstract (inspired by Sahar Naveed) aside, one acknowledges that there is deep content in these presentations of our gloomy environment. A viewer, possibly for the first time, sees the beauty that he / she walks on the city streets daily that is reproduced as a work of art. With the study of fragments (12 delicate drawings of all kinds of obstacles) whose image quality is strong, in this exhibition, two series, contraption and Protest wall integration. Whether installed at home or on the side of the road, these are both “barriers that divide the rich from the poor, the powerful from the powerful, the hungry from the healthy.” In this regard, the work, along with its clear pictorial appeal, includes social and political content as well as oppression and exclusion, as well as explores the irony of these jewels / institutions. Sahar is seen doing this through her photographs of what Kafka does when he writes about such serious situations that captivate his reader with his formal brilliance.

The author is a Lahore-based art critic.

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