Critical Writings & Press
Tariq Gill
Early Press Coverage
Early press coverage of Tariq Gill’s artistic practice dates to July–August 1988, during his thesis period at the National College of Arts (NCA), Lahore. Two contemporary articles documented his emerging practice: one by Ms. Alys Faiz in Viewpoint and another by Mr. I. A. Rehman (Ibn Abdur Rehman) in Herald.
At the time, Gill was simultaneously pursuing his studies at NCA and working at a chemical factory. In her Viewpoint article, Alys Faiz referred to him as a “mazdoor artist”, reflecting this distinctive reality of an artist developing his practice while working as a labouring professional and completing his formal art education.
Original copies of both 1988 newspaper publications are no longer available in the artist’s archive. The surviving press archive presented below includes later newspaper coverage and interviews documenting Gill’s continuing artistic practice.
1988 — Viewpoint
Author: Ms. Alys Faiz
Period: July–August 1988
Context: Article published during Tariq Gill’s NCA thesis period. Faiz referred to Gill as a “mazdoor artist”, reflecting his simultaneous work at a chemical factory while pursuing his art education at NCA, Lahore.
Original newspaper copy unavailable in the artist’s archive.
1988 — Herald
Author: Mr. I. A. Rehman (Ibn Abdur Rehman)
Period: July–August 1988
Context: Contemporary coverage of Tariq Gill during his NCA thesis period.
Original newspaper copy unavailable in the artist’s archive.
The Frontier Post (Weekend Post) | December 20, 1991.
"In a Sculptor’s Mould" is one of the earliest published interviews with Tariq ur Rahman Gill. Written by Rafat Hussain and published in The Frontier Post (Weekend Post) on 20 December 1991, the feature explores Gill’s artistic philosophy, his evolving interpretation of the human figure, and his practice as both a sculptor and painter. The article discusses his small-scale drawings, his distinctive treatment of human anatomy, and includes photographs of the artist alongside one of his abstract sculptures produced during his years at the National College of Arts. It also features Gill’s statement, “Art is a continuous process for me, so I just don’t stop,” offering an early insight into the ideas that have shaped his artistic practice.
The News International | May 18, 1991.
Adventuring through the Subconscious is a feature article by Iffaf Y. Khan, published in The News International on 18 May 1991. Introduced with the subtitle, “Peering through the art world, we focus on a man whose guilt-ridden conflict between his art and the clergy, at one point led him to burn his works,” the article presents one of the earliest in-depth profiles of Tariq Gill and his artistic philosophy. According to Khan, Tariq Gill had already earned the admiration of some of Pakistan’s leading artists and educators for his exceptional technical abilities and innovative approach to sculpture. The feature discusses his resourcefulness during years when art materials were difficult to afford, describing how he continued drawing on the backs of discarded cigarette packets, scraps of paper, and any surface available to him. Khan also explores Gill’s belief that the subconscious is the primary source of his artistic imagery, presenting his reflections on creativity, discipline, and perseverance. Accompanied by photographs of the artist and one of his abstract figurative sculptures created during his years at the National College of Arts (1983–1988), the article remains an important early record of Tariq Gill’s artistic development and critical recognition.
Khan introduces Tariq Gill as an artist she regards as one of Pakistan’s most important sculptors, highlighting his technical mastery and the respect he had earned from fellow artists and teachers.
TNS | THE News ON Sunday | May 17, 2026.
In the Exile of Night and Nightmares is a feature article by renowned art critic Quddus Mirza, published in The News Lahore on 17 May 2026. Written on the occasion of Tariq Gill’s solo exhibition Ecosystem of Fantasies, curated by Minahil Ahmed at Muse Art Gallery, Lahore, the article offers a comprehensive account of the artist’s life, career, and creative practice. Beyond reviewing the exhibition, Mirza traces Gill’s artistic journey from his early years at the National College of Arts (NCA), his simultaneous employment at Ittehad Chemicals Limited (1977–2004), and his later academic career at NCA, where he eventually retired as an Associate Professor in 2019. The article also reflects on Gill’s distinctive visual language, multidisciplinary practice, and the evolution of his paintings, drawings, sculptures, and collages, making it an important contribution to the critical literature on his work.
The News | September 5, 2004.
After Solitary Years is a newspaper review by renowned art critic Quddus Mirza, published in The News Lahore on 5 September 2004. Written on the occasion of Tariq Gill’s solo exhibition Home Alone at Rohtas Gallery, Lahore, the article examines the artist’s drawings, paintings, sculptures, and collages, while reflecting on the remarkable discipline and consistency that define his artistic practice. Mirza discusses Gill’s unwavering commitment to making art rather than promoting himself, noting that by the age of 46 he had already produced more than 600,000 drawings. The review highlights Gill’s experimental approach to materials, including the preparation of his own pigments and paints, the use of printed and textured papers, and the layered complexity of his compositions. Particular attention is given to the maturity, clarity, and originality of his small-scale works, which the critic describes as an uncommon achievement in contemporary art. Concluding with the observation that “Artists are not only those who exhibit, sell or receive awards but individuals who actually make art for themselves. Tariq Gill just about proves it,” the article remains one of the most important critical assessments of Gill’s artistic philosophy and practice.
Mirza notes that by the age of 46, Gill had already produced more than 600,000 drawings.
The Express Tribune | May 10, 2010
Gill’s First Exhibition in Capital is a feature article by Maha Mussadaq, published in The Express Tribune on 10 May 2010. Written on the occasion of Tariq Gill’s solo exhibition The Lonely Crowd at Khaas Art Gallery, Islamabad, the article introduces the artist’s work to readers in the capital and explores the ideas, materials, and creative process behind the exhibition. Drawing on an interview with Gill, Mussadaq discusses his belief that art is a continuous process shaped by observation, literature, and everyday experience rather than a single source of inspiration. The feature examines his expressive treatment of the human figure, his distinctive visual vocabulary, and his experimental use of materials including oil paint, graphite, charcoal, pastel, chalk, and dust. The article also records visitors’ responses to the exhibition and notes that Gill’s lifelong drawing practice had resulted in a collection of more than one million drawings, illustrating the extraordinary scale of his artistic commitment.
According to the feature, Gill had amassed a collection of more than one million drawings.
Dawn News | Feb 17, 2013.
News article published in Dawn on 28 October 2011 documenting the opening of Tariq Gill’s solo exhibition Bizarre at Drawing Studio (Dedrawing Studio), Lahore. The article reports on the exhibition of graphite drawings, describing them as “some excellent graphite drawings,” and introduces Gill as a faculty member of the Fine Arts Department at the National College of Arts (NCA). Published during the exhibition, the feature provides contemporary press coverage of Bizarre and contributes to the documented exhibition history and critical reception of Tariq Gill’s artistic practice.
Sadhu also notes that Gill was a member of several libraries in Lahore, reflecting his lifelong commitment to reading and self-directed learning.
Dawn News | Feb 23, 2012
Continuous Dialogue Captivates Visitors is an exhibition review by Jamal Shahid, published in Dawn on 23 February 2012. Written on the opening of Tariq Gill’s solo exhibition A Continuous Dialogue at Khaas Art Gallery, the article examines the artist’s distinctive visual language, technical approach, and the public response to the exhibition. According to Shahid, Gill’s paintings combine abstraction and figuration through expressive, childlike imagery that conceals psychologically complex and emotionally charged compositions. The feature includes observations from artists, visitors, and art critic Aasim Akhtar, who describes Gill as “an artist who believed that art had no rules.” The article also records Gill’s own reflections on his work, discussing memory, human experience, and themes explored in paintings such as Frightened, Chaotic Journey, Sacrifice, and Something is Happening Inside. Particular attention is given to his use of casein on wasli and canvas, highlighting the unique qualities of a medium rarely employed in contemporary Pakistani art. The review remains an important contemporary account of one of Tariq Gill’s most significant solo exhibitions.
Pakistan Today | 24 Feb, 2012.
Tariq Gill Opens Painting Exhibition at Khaas Art Gallery is a feature article by Mahtab Bashir, published in Pakistan Today on 24 February 2012. Written on the occasion of Tariq Gill’s solo exhibition A Continuous Dialogue, the article introduces the exhibition while drawing attention to the artist’s distinctive use of casein paint, one of the oldest painting media in art history. According to Bashir, Gill was among the few contemporary Pakistani artists working extensively with casein paint, a medium widely used during the Renaissance before the rise of oil painting. The article discusses the exhibition’s presentation of 27 works, created in casein on canvas, graphite on wasli, and graphite and ink on millboard, and examines Gill’s expressive figurative language, which the writer notes can evoke the appearance of caricatures or cartoons. The feature provides contemporary documentation of one of the artist’s most significant solo exhibitions and highlights the technical diversity of his artistic practice.
“Tariq Gill opens painting exhibition at Khaas Gallery”
Dawn News | March 10, 2012
Art Work: Allegorical Iconography is a critical feature published in Dawn on 10 March 2012, examining Tariq Gill’s solo exhibition A Continuous Dialogue, recently presented at Khaas Art Gallery, Islamabad. Rather than serving as a conventional exhibition review, the article offers a thoughtful analysis of Gill’s visual language, technical approach, and distinctive place within contemporary Pakistani art. The feature explores Gill’s background as a graduate of the National College of Arts (NCA), where he specialized in sculpture, and discusses his sensitive treatment of line, expressive reconstruction of the human figure, and characteristic childlike imagery. According to the article, the exhibition presented 27 works executed in graphite on wasli, graphite and ink on millboard, and casein paint on canvas, demonstrating the artist’s ability to combine allegory, imagination, and technical precision through diverse media. By examining the narrative qualities and symbolic richness of Gill’s work, the article provides an important critical interpretation of one of his most significant solo exhibitions.
Pakart | Feb 24, 2012
Dawn News | October 28, 2011
This news feature, published in Dawn on 28 October 2011, reports on the opening of Tariq Gill’s solo exhibition Bizarre at Drawing Studio (Dedrawing Studio), Lahore. The article highlights Gill’s graphite drawings, describing them as “some excellent graphite drawings,” and introduces the exhibition shortly after its opening. It also notes Gill’s position as a faculty member in the Fine Arts Department at the National College of Arts (NCA). As a contemporary newspaper account, the article documents the public presentation of Bizarre and forms an important part of Tariq Gill’s press archive.
The Express Tribune | March 07, 2012
The Finesse That Patterns Weave… is a feature article by Sehrish Ali, published in The Express Tribune on 7 March 2012. The article reviews Converging Lines: A Suite of Drawings, a group exhibition presented at Khaas Art Gallery that brought together drawings by twelve leading Pakistani artists in support of the Layton Rahmatulla Benevolent Trust (LRBT). According to Ali, the exhibition showcased a unique drawing portfolio that had originally been created for an LRBT fundraising initiative. The original works were first presented during a charity event at the British High Commissioner’s Residence, Islamabad, before later being exhibited at Khaas Art Gallery. The feature explores the significance of drawing as an independent artistic medium while documenting the collaborative effort of the participating artists. As one of the featured contributors, Tariq Gill participated alongside fellow contemporary artists in a project that combined artistic excellence with philanthropic support for LRBT.
Dawn News | November 28, 2008
Artists’ Work: Small Scope, Big Hopes is a critical review published in Dawn on 28 November 2008, examining the National College of Arts (NCA) Faculty Exhibition, Small Scope, held at the Zahoor ul Akhlaq Gallery, Lahore from 20–29 November 2008. The article reflects on the exhibition’s curatorial concept, the diversity of artistic practices represented by NCA’s teaching faculty, and the role of faculty exhibitions within Pakistan’s contemporary art landscape. The review discusses curator Qudsia Rahim’s decision to invite participating artists to work within a uniform format, exploring how this limitation influenced individual artistic practices and encouraged visual dialogue between works. While assessing the exhibition as a whole, the article identifies Tariq Gill among a group of artists whose works established meaningful relationships through their visual language and conceptual concerns. By examining both the strengths and limitations of the exhibition, the feature provides valuable insight into the creative environment of the National College of Arts and documents an important moment in the careers of its faculty members, including Tariq Gill.
Home Alone at Rohtas 2, Art Gallery
The Lonely Crowd at Khaas Art Galery
Bizarre at drawingstudio Gallery
Drawing Studio | October 2011
Bizarre was a solo exhibition by Tariq Gill, presented at Drawing Studio (Dedrawing Studio), Lahore, in October 2011. The exhibition featured a selection of drawings that reflected Gill’s distinctive figurative language, psychological narratives, and imaginative visual world. As a faculty member of the National College of Arts (NCA), Gill continued to develop a highly individual artistic practice, exploring the expressive possibilities of graphite and drawing through intricate compositions and symbolic imagery. Bizarre represents an important chapter in the artist’s ongoing exploration of the human condition and the subconscious.
A Continuous Dialogue at Khaas Art Gallery
Converging Lines at Khaas Art Gallery
Lahore biennale 03 Collateral Event
by The Roadside Art
DOT.LINE. SHAPE...
At O ART SPACE
END OF THE LINE
At Kaleido Kontemporary
Ecosystem of Fantasies – Solo Exhibition by Tariq Gill | Muse Art Gallery | May 2026
Ecosystem of Fantasies was a solo exhibition by Tariq Gill, curated by Minahil Ahmed and presented at Muse Art Gallery, Lahore, from 2–12 May 2026. Bringing together paintings, drawings, sculptures, and collages, the exhibition explored a vivid and imaginative visual language, offering visitors a unique glimpse into the artist’s creative universe.
