In recent times, a series of deep seated global and cultural developments began to change the context in which artists worked. The exploration of different forms and materials was the way in which art responded to a radically changing social and cultural environment. Artists who have raised social issues through their work express not only personal views but also concerns about the values and norms of the society that raised them. Since the documentation of art, it has been a way that human beings externalize and make public what is internal and private in the process, keeping it as true as possible to the original emotion or subject.

In this framework one may consider the oeuvre of Mahboob Ali. He is a well known artist of Pakistan, whose paintings and woodcut prints depicting the historic city of Lahore are included in the national collection of the Pakistan National Council of the Arts. On his graduation from the National College of Art in 1972, he explored the ancient Chinese tradition of woodcut printmaking, a medium that had been used in the 15th century by Albert Durer and later in art history by Edvard Munch. Mahboob Ali took the media of wood cut printmaking further, adding his own innovations and incorporating as many as fifty colours in his prints. A master of chiaroscuro, he skillfully created images of dazzling contrast and moods. The demand for his work in the media of woodcut prints became a pre-dominant factor of the artist’s studio though he continued to work in the media of oils.

In previous exhibitions he primarily focused on the detail of classic architecture of Lahore, the Havelies, street markets and the old walled city and its environs. His concerns involved the world around him. The dire changes that have emerged in the world today caused the artist to widen his concerns for people of all countries in the hope that through universal understanding and effort, hopes for future generations may be realized.

In the exhibition titled Hope Under Siege, the artist uses oil on board as his media. He introduces in his compositions a variety of symbols to encompass an awareness and concern for the survival of familiar traditions of life globally. The spiritual aspect in the work is strong, though chaos reigns, faith remains. The trusting hands raised in prayer are women’s hands, the giver of life. They are movingly depicted and as if in answer, HOPE is present in the colourful arch of a rainbow, just as Noah was comforted after the flood.

The artist assures us that though restrictions are imposed by barriers of barbed wire, the Butterfly, a symbol of the cycle of life, flies free; resting on the cruel barbs before flying off into the blue skies. Mahboob Ali uses a number of symbols in his work, which the viewer may interpret on varied levels, physical, psychological or spiritual. HOPE is ever present. The old lady, seen behind bars continues to pray, and calmly assures the viewer of a greater power. Though outside the bars it appears a world of chaos reigns, there are also strong emblems of nature; the artist’s work is a reminder that even today, miracles are possible.