Saba Qizilbash: Grey Area
We, at 1X1 Art Gallery, are pleased to present 'Saba Qizilbash: Grey Area'. Grey Area allows the viewer to peer through transgenerational comprehension of conflicted territories and emotions.
“I draw these locations to immerse myself in the inquiry of these imagined and inviolable boundaries where constant separation and surveillance take place.”
A virtual assemblage of Saba Qizilbash's artworks, Grey Area, explores conflicted territories and boundaries through a grey, rather unclear lens interrogating conformity and clarity; accumulating, sieving, and comprehending transgenerational provincial as well as emotional implications of division.
Territorial division brings with it obscurity, often regarded as a grey area. Additionally, the consequent tremors of this grey area reverberate through the natives, sojourners, and narratives alike, clouding and colouring perceptions based on numerous geopolitical truths and mistruths. Inevitably, the grey area exists in the hearts and minds of all humanity.
Through Saba's artworks, Grey Area builds a portal, offering the viewer an opportunity to immerse themselves in the grey expanse of these territories and spaces to reassess several historical decisions. These elaborate, detailed graphite drawings act as an entry point into a charged, and hostile space without a trace of humanity, allowing the viewer an independent inquiry devoid of any influence. Her small-scale drawings are like residual sites, which include gates, watchtowers, abandoned bridges, etc. She says, “I draw these locations to immerse myself in the inquiry of these imagined and inviolable boundaries where constant separation and surveillance take place.”
Grey Area taps into the assemblage of conundrumical emotions caused by division, assisting the viewer with a deeper retrospection and meaningful introspection.
1965 Victory Day, 2020
1965 Victory Day depicts army generals and soldiers celebrating and surveying the aftermath of the Battle of Asal Uttar. It was one of the largest tank battles fought between India and Pakistan in 1965. Pakistan army charged into the battlefield using US-made M48 Patton Tanks while British-made Centurian tanks fought back from the Indian side. Both countries claim victory and continue to mark the event as a military achievement.
1965 Victory Day, 2020, Graphite on paper, 22 x 37 cm
Sharda Peeth, 2020
The 6th century Sharada temple has played a significant role in Kashmiri Pandits' religious culture. After the partition, Sharda Peeth came within the boundaries of Pakistan administered Kashmir. Presently, a paved road is available up to Teetwal. This work focuses on Teetwal Crossing and a desire to develop this corridor on the same lines as Kartarpur Corridor - a religious corridor open today for pilgrims who do not require visas from the Pakistani Embassy in New Delhi.
Sharda Peeth, 2020, Graphite and wash on paper, 25.5 x 114 cm
A Brief Visual History of the Battle of Ichhogil Bund, 2020
On September 6, 1965, a brief yet significant battle was fought in the outskirts of Lahore at the banks of the Ichhogil canal. This canal runs parallel to the border between Pakistan and India and is an extension of the famous Lahore Canal. There are varying accounts of what unfolded and how deep the opposing forces transgressed. However, the fact remains that blood was shed and lives were lost in an attempt to redefine the boundaries of the two nations.
Graphite on mylar in brass frames, 11 x 9 cm
NJPP, Gurez 1, Gurez 2 & KHPP, 2020
Kishenganga river has two names. When it bends into Pakistan, it's Neelam, when it curls into India, it's Kishanganga. Both countries have harnessed their water by creating hydroelectric power plants. These drawings are observations of the Kishenganaga Hydro Power Plant and Neelam Jhelum Power Plant on both sides of the border.
