KARACHI: Artists use symbols to articulate the thoughts that they try to propagate through their art. The use of symbols invariably hints at an attempt to convey an important message, which, if posited in a linear, realistic style, may not carry the kind of force that the artist wants it to carry. An exhibition of the latest body of Laila Rahman`s work titled Blind Oblivion that commenced at the Chawkandi Art Gallery on Tuesday reinforces this idea.

Laila makes use of the pomegranate as her main symbol. Now, according to eminent critic Salima Hashmi, whose little note accompanies the invite to the show, `The pomegranate in its seductive beauty becomes the symbol of corrupt power.

Seeing the seven paintings on display, it will occur to the viewer that power is only a component, albeit an important one, of the larger picture that the artistwants us to draw our attention to. Laila`s concern is not just physical/moral in nature; it`s also connected with the psychosocial malaise, which, in certain cases, proves to be a precursor to the power game that people play. A case inpoint is the diptych `The Land of Lost Content` (oil on canvas). In the caption for the artwork the word `diseased` can be read: the artist is concerned about the content (or is it contentment?) whose inadequacycanhaveadetrimentaleffecton society.

The good thing about Laila is that she attaches equal importance to hope, or the need for it. In the quadriptych `Endless Night`, even though the metaphor of night is often employed to underline a bleakscenario, the artist talks of the cycle of evolution. This implies evolution is an ongoing process, and in Ernest Hemingway`s words, `it`s silly not to hope`.

The exhibition will run until April 25.