Michelangelo’s The Last Judgement, on the altar wall of the Sistine Chapel, elicited a wide spectrum of responses from the audience during its unveiling. While many praised the artwork for its grandeur, emotional depth, and masterful technique, it also sparked consequential controversy and violent reactions among contemporaries. Clerics found the bold portrayal of biblical figures and the dramatic representation quite provocative, specifically deeming the nudity and the intense expressions of both anguish and ecstasy inappropriate. This led to heated debates about the boundaries of artistic expression within religious decorum.This dichotomy underscored the impact of Michelangelo’s work, positioning it not only as a masterpiece of Renaissance art but also as a catalyst for social and religious discourse both in his time and in contemporaneity.¹

Adeela Suleman’s latest solo exhibition, Retribution, presents a thought-provoking and philosophically nuanced collection of works paying homage to Michelangelo’s The Last Judgment, which not only situates the latter’s significance in modern times but also stimulates viewers to contemplate the interplay of beauty, violence, self-reflection, and accountability. Held at The Barracks in Lahore, this exhibition marks a significant milestone in Suleman’s persistent exploration of socio-political trauma and existential themes through her intricately crafted wooden panels and multimedia art.² Celestial Calls I and II, both masterfully crafted from meticulously stained, hand-carved rosewood and each bearing a glossy top coat of lacquer that enhances its natural beauty, commanded attention in the gallery space.

These large-scale artworks feature carvings of muscular angels laboriously sounding trumpets, their enchanting forms calling forth the deceased to rise. The remarkable skill in relief carving is evident in the ornate details of the figures, which evoke the grandeur of traditional religious altarpieces. However, the expressions and postures of the faces depicted transcend any specific cultural or religious tradition, instead conveying a profound and universal sense of sorrow and longing. The deep, dark luster of the rosewood, accentuated by the delicate marks left by the chisel, imbues the sculptures with a captivating ethereal glow. The drama of light and shadow suggests themes of disclosure and perishability.

In a sprawling rosewood panel engraved with figures, one clutching the ‘Book of Deeds,’ Suleman challenges viewers to reflect on their pasts as the angel, clad in red, quietly presents the tormented soul with a metaphorical mirror, reflecting its fate and the weight of moral obligation. The arrangement is rich yet distinct, permitting each component to have its space without diminishing its storytelling impact.

The artist’s use of repurposed ceramic plates (see title image) creates a sophisticated and strong contrast with the wooden reliefs, as these smaller-scale works exhibit a more understated quality while evoking a poignant intimacy against the vibrant scarlet wall backdrop. The transformation of antique household items into a compelling representation of moral contemplation through enamel painting collocates the ordinary with the eternal. This approach implies that matters of judgment and destiny are not solely within the purview of the divine but are intricately interwoven within domestic spaces, familiar environments, and inherited legacies.

Suleman broadens her artistic expression by incorporating textiles, particularly utilizing silk jamawar, a finely woven fabric traditionally associated with nobility, ritualistic practices, and cultural heritage, especially in South Asia, which introduces a striking material contrast and enhances the artwork with both historical and symbolic significance. The visual splendor of the jamawar transcends mere ornamentation; it acts as a narrative device that evokes the ceremonial grandeur often linked to divine proclamations. Furthermore, it recontextualizes these rituals within a framework of reflection and existential struggle, thereby deepening the emotional and thematic resonance of the work. The installation of these trumpets is placed within the elliptical hall of the gallery bearing flags mimetic of a particular Muslim sect, with the insignia derived from European art references scattered yet carefully planted in creative expressions pertaining to the Global South.

Additionally, the material of choice can be regarded as a representation of history itself, which is interwoven with multiple incongruities as it surpasses its role as merely a garment, embodying a lasting cultural memory that reflects patterns of triumph, sorrow, and commemoration. Suleman’s integration of this component serves as a subtle yet significant acknowledgment of humanity’s inclination to shroud power, especially in aesthetic beauty.

Themes of violence and its consequential representation are conceptualized in Blood Chandelier, set against the backdrop of escalating brutality in Karachi. This powerful installation serves as a commemorative tribute to the bloodshed and suffering endured during prolonged episodes of urban violence and systemic oppression. It poignantly captures the anguish faced by the people of Pakistan, particularly in its bustling urban centres, where mundane activities must carry on despite the political and social unrest.

The auditory aspect of the entire exhibition is given by Sada e Mehshar, Raag Marwa in D Flat 9th, a collaborative audio composition developed by Arshad Mahmud and Ustad Nafees Ahmed. This sound piece elevates from being a mere ambient sound, to establishing a profound and evocative acoustic environment that permeates the gallery and mirrors the emotional undertones of the visuals.

“Retribution” was on display at The Barracks, Lahore from December 8, 2024 till January 19, 2025.

Title Image: Adeela Suleman, The First Clarion Call I (right), The Final Clarion Call II (left), and Towards Perpetual Torment (middle), Found Ceramic Plates, Enamel Paint with Top Coat with Lacquer, Rosewood Frame, Various Sizes, 2025

All images, courtesy @The Barracks Art Museum