“Harmony” Clay Sculpture


Like to share one of most recent clay sculpture “Harmony” by Jalal Gilani

In sculpture, combination of two assorted fruits indicates, encounter of two diverse personality, culture or religion and staples with patches represents adjustments in order to create harmony in life.


Learn to see


Observe and Absorb

Level: All ages

Description: Art is not only about how to draw and paint. It’s also about the quality of “how we see,” how we observe and absorb things around us. This exercise is designed to be a fun activity that introduces children to improving their art skills through the power of observation.

Materials: Pencils, Paper (No erasers used) Objects to use for drawing: Cell phone, Bowl, CD Player, CD Cover, Book, Flower, Box, Lamp, Shapes, Chair etc


Step 1. Display all objects on the table.

Step 2. Talk about the structure of each object.

Step 3. Give average time for observation.

Step 4. Give drawing paper and pencil.

Step 5. Ask students to select one of the objects and draw it.

Step 6. Show objects again and ask them to take a closer look.

Step 8. Ask students to draw again.

Creative Questions:

The second attempt usually is more accurate compared to the first. Discuss.

1- Which drawing do you think is more accurate?

2- Why is the second attempt more accurate than the first?

Remember, the goal is not to evaluate the accuracy of drawing, but to help you understand the importance of observing.

3- Discuss other reasons for improvement (especially practice)

Closing comments: Besides building skills and power of awareness, at the end of this exercise, students will recognize how much we value the wonders and beauty of the world, and how much we take them for granted.


Open Art Study

Pakistani Art & its South Asian Identity
The term, Art, as it is understood now was first coined in the mid eighteenth century. Initially used for the skill of painting, sculpture and drawing, these days it encompasses various disciplines and many techniques. The artists of our times, do not have to use the traditional materials such as the paint, brush, turpentine, canvas, wood, stone or chisel, in order to convey their profound ideas and strongly felt emotions, because all of these can be expressed in mediums as diverse as photography, collage, assemblage, computer-generated prints, video, performance, installation and many more. Once the definition and the limits of art are expanded, it is still categorized in some other manner/terms: often according to its place of origin/practice. Hence the idea of national art remains
a favourite concept among the theorists and historians – particularly for those who belong to the countries, which are yet outside of the mainstream art. Because, as the citizen of the first world easily move from one country to other – like travelling within Europe or going to USA – the art, and the artists from those places are not confined to one country or limited to a single national identity. For example, the painter, David Hockney, in his early years was a resident of UK, but now he is an American citizen and lives in California. Therefore his art is not strictly British, nor is it American. It is international! On the other hand, the more difficulty we face towards moving out of our geographical boundaries,
the more we are indulgent in the thoughts about national identities. Which we seek in the Pakistani literature, Pakistani music and Pakistani art In fact we use these terms (especially Pakistani art) so often, that we never doubt their existence. Thus never ask an important and legitimate question to ourselves, such as: Is there something, which can be called as Pakistani art? Actually the genesis of the term Pakistani art is in our habit of classifying certain activities within the physical and political boundaries. For example we assume that there must be a Pakistani national language, Urdu – the same language that is spoken in many provinces of India as well as in Bollywood songs. Similarly we have decided about the figure of a Pakistani national poet, Allama Iqbal (who was never a citizen of this country, and whose poetry is used for political purposes, both in the Islamic Republic of Pakistan and in secular India). In fact, if we realize, the notions, such as
the national flower, national bird, national sport and the national dress – all of these learnt in the elementary schools – do not hold much relevance now. Since we know that there is no special characteristic in these activities or entities, which can be attributed exclusively to our Pakistani nation.
Probably, the only things, which signify national or Pakistani identity – apart from its geography and political set up – are the national anthem, national flag and national passport. All of these, which represent the nation and a country, are manufactured by the state, and can be changed if there is a consensus to do so.

On the other hand the matter of aesthetic expression is different. One can not clearly describe ‘what is Pakistani art’, since the country is just 58 years old, whereas the artistic practices are older than the short history of this nation. So, much like the Pakistani dance and Pakistani music, Pakistani art is also a loosely defined entity. Actually there is a difference between Pakistani art and the art from Pakistan. It sounds paradoxical, but instead of describing it a specific Pakistani art, whatever is being produced in our society can be called ‘art from Pakistan’, with all its diversity, contradictions and conflict. Due to this chaos or the absence of a discipline or doctrine, the artists of our country are creating whatever suits their ideas, whims and desires. In that respect there is not one identity of Pakistani art. Here the art of calligraphy is being practiced as much as the miniature painting is a popular pursuit. Artists are working in diverse mediums, techniques and subjects. You may find landscapes, still life, portraits, figure compositions, abstract surfaces, contemporary works, installation art, video projections, digital prints – all made in
the same time and appreciated by the viewers. Probably art in today’s Pakistan is a true reflection of Mao’s famous dictum – let the hundred flowers bloom. Now in our surroundings, thousand flowers are blooming, but without being obliged to follow a certain course. That independence, which is a rare phenomenon in our society, is a unique feature of our art. It also spares Pakistani art from having to be associated with the region, which is currently known as South Asia. And particularly not with India, because both countries of subcontinent share a past, but due to less interaction and a lack of information, there was not much contact between the creative
people from Pakistan and India. That resulted in separate development of art in the two countries. Which presents an interesting scenario, because, if the Indian art on the one hand subscribes to its ‘Indian-ized’ tradition, focusing on the religious iconography and folk motifs, art of Pakistan remained quite oblivious to these concerns and it evolved in an independent manner. When the major Indian artists were busy in fabricating a South Asian or Indian identity, the artists from Pakistan did not feel that urge or pressure to do a likewise act. Fortunately because in the short span of our history, we were unable to decide whether we are part of the vast Muslim world with its centre in the Arabian Peninsula or we should recognize our link with our physical environment – that
is the Indian subcontinent. Various artists, including A. R. Chughtai made many attempts to deal with the idea of identity, but by and large this is still an unresolved issue. Another attempt in this regard is visible in the revival of miniature painting, but interestingly, the popularity of this genre has nothing to do with the South Asian context. The movement of modern miniature, emerging from Pakistan, is a totally local product, with no counterpart in India. Similarly the appropriating of popular imagery from the truck and bus painting in our art is a phenomenon, new and unique for the region. Due to all these factors and flavour, the art from Pakistan, whenever exhibited abroad managed to challenge the preconceived notions about the creative practices of this place. One of its examples is the exhibition (called ‘Beyond Borders’: Art of Pakistan), currently being held at the National Gallery
of Modern Art in Mumbai. It caused many (pleasant) surprises, because none of the Indian audience was prepared to encounter such variety and diversity in the art of Pakistan. The exhibition transformed their opinions, assumptions and believes about the art of their neighbours. They realized that it is lively, imaginative, free and contemporary.
Solely, because the art from our country is not Pakistani nor it is South Asian: It is beyond all these categories. Blissfully!
Quddus Mirza


Sketching and Drawing

Anyone can learn how to draw. It’s easier than you think. Our program will guide you through step by step drawing procedure. This course is for anyone who wants to learn to draw. The basics of drawing are covered in this program including: perspectives, direction, balance, weight, shading and more.

Program Description: Drawing is a form of visual communication. It allows expression of inner feelings without using words. In this class, students will learn how to express themselves by sketching and drawing objects. We will also introduce different drawing techniques and styles.

Learning Objectives:

Students will learn:

  • Drawing techniques such as perspective, direction, balance and weight.
  • Drawing 3D objects.
  • Human face and other objects.

Activities and Drawing Exercise: Based on the level of student.

  • Beginner:Our philosophy of teaching art is focused on inspiring the expression, and enhancing the individual creativity. This is easier if art is introduced at an early stage. Our goal for this class is to inspire, motivate, encourage and teach basic principles of art using different exercises.
  • Basic: Students will learn new techniques and drawing styles of different artists. We will also introduce interesting style of “Pablo Picasso” and “Guljee.”
    • Intermediate: Intermediate drawing classes are intended for students who have mastered the basic level and want to move forward keeping their focus on visual art. These lessons will focus on visual perception and drawing skills while exposing students to a wide variety of new art techniques including: human faces and forms, animals, landscape, still life. They will also learn about legendary artists and their styles. Finally, students will be encouraged to develop their own style and creative approach. See sample exercises for Intermediate Level


  • Advance: Classes are intended for students who have mastered the intermediate level and want to move further in the field of visual art. These lessons will focus on Human Faces and Figurative art.

Drawing exercises will focus on:

  • Understanding of Lines and Circles
  • Observe and absorb
  • Sketch with Lines
  • Drawing empty space
  • Perspective (Drawing Houses, Landscape)
  • Shading
  • Squirkling
  • Hatching
  • 3D objects
  • Human Face
  • Color theory
  • Mediums

True Art


“I live only when I paint, the rest is but a wait.”  -Gulgee, 1926-2007 (Famous Pakistani Artist)

“True art is characterized by an irresistible urge in the creative artist.” -Albert Einstein

““To draw, you must close your eyes and sing” -Pablo Picasso

“Art is not a thing, it is a way.” -Elbert Hubbard

“Every child is an artist. The problem is how to remain an artist once we grow up.”  -Pablo Picasso

The position of the artist is humble. He is essentially a channel.” Piet Mondrian 

The job of the artist is always to deepen the mystery.”  Francis Bacon 

To be an artist is to believe in life.”Henry Moore 

Art is not what you see, but what you make others see.” Edgar Degas 

Art must be an expression of love or it is nothing.” Marc Chagall 

I found I could say things with color and shapes that I couldn’t say any other way–things I had no words for.” Georgia O’Keeffe 

A man paints with his brains and not with his hands.” Michelangelo