As the garden’s gate opened, an enchanting floral aroma fused with the essence of humanity, soaked profoundly into the soul— awakening forgotten memories of joyfulness and serenity. The whiff was rich with the fragrance of passion, commitment, quest, and vitality. From the gate, pathways diverge into various fields, each marked by signposts indicating distinct disciplines—literature, painting, science, music, medicine, economics, poetry, politics, culture, and architecture—all presenting new vistas within their domains. Along these paths stand the paragons who dedicated their lives to these pursuits. Figures like Al-Biruni, Newton, Farabi, Mir, Ghalib, Eliot, Gandhi, Lincoln, Nusrat Fateh Ali, Edhi—all were present. Yet, such a breathtaking assembly can exist only in the realm of dreams or within the walls of Ejaz Malik’s studio, where the quintessence of greatness entwines with the creative soul.

In our society, those who possess knowledge and artistry are rarely recognized in their lifetime, and once they depart, the honors they receive tend to be fleeting and confined to a handful of events. Among all the fine arts, sculpture appears to be the most overlooked in Pakistan, based on my observations. This art form has, in fact, endured particularly disparaging treatment. In the 21st century, even as we marvel at the wonders of modern science and possess an abundance of literature on art and creative expression, we still grapple with differentiating between sculptures, idols, and figurines. Sculpture-making, particularly in the realm of portraiture, is both an art form and a homage to the subject, honoring their contributions to society and culture. This practice has evolved from mere impression and skill into a significant artistic medium through which people around the world celebrate their gods, kings, elders, artists, and intellectuals by crafting their likenesses to grace gardens, museums, educational institutions, places of worship, and public squares. Ejaz Malik’s sculptures represent a continuation of this illustrious tradition. Through his works, he not only pays tribute to artists, writers, and masters across various disciplines but also strives to preserve their creative legacies.

A self-taught artist, Malik engaged in one of the most challenging and contentious art forms in Pakistan—sculpture. His sculptures are not merely physical representations or intricate carvings; they encapsulate the essence, artistry, and style of the individual, while above all revealing the subject’s unique persona. While a physical likeness may be sufficient to identify, Malik’s sculptures adhere to the subcontinent’s rich tradition, wherein Tagore noted that the essence of the sculpted figure is inherently woven into the creations of this region. The clay of these sculptures inherently contains Faiz’s sweetness, Pathanay Khan’s mysticism, Farid’s love, and Mubarak Ali’s sensibility of history. The artist is known to combine two diverse perspectives of a single person, with some of the sculpted busts including objects with literal and/or symbolic meanings. For instance, Faiz’s fiberglass sculpture in gold and yellow undertones, captures the serene dignity concealed within his quietness, accented by the doves that signify peace, yet appear poised on the brink of transforming into hawks at any moment. His sculptures narrate a tale distinct to his selected theme, intertwining realism with imagery and calligraphy. The artist’s crafted forms exude a sense of authenticity, for he comprehends not only their physical essence but also the lives and eras they inhabit.

Manto’s sculpture encapsulates his realism, courage, inner turmoil, and narcissistic tendencies. In a similar vein, Sadequain’s cosmic dreams, Pathanay Khan’s fervent bond with music, Ghalib’s exploration of themes that traverse from the depths of an individual’s thoughts to the vast expanses of the universe, Ghanam’s camaraderie and audacity, Dr. Mubarak Ali’s elegant simplicity in unraveling history’s complexities, and Farid’s affection for Rohi—all find vibrant expression within these sculptures. When a singular perspective proves inadequate to capture the richness of a personality’s multifaceted nature, these multidimensional forms come into play, with each dimension illuminating a distinct facet of the individual.

Renowned for his poignant interpretations of Sufi poetry, especially the exquisite verses of Khwaja Ghulam Farid, Pathanay Khan’s profound voice possessed a unique ability to transcend barriers, fostering a shared sense of connection and spirituality among his listeners. Malik’s sculpture masterfully encapsulates the essence of Pathanay Khan’s character and his profound ties to the cultural heritage of Saraiki. The intricate craftsmanship of the sculpture embodies the spirit of a gifted man who utilized his voice to unite diverse audiences and celebrate the richness of Sufi traditions. As you navigate around the sculpture and catch sight of the back, the open mouth of Pathanay Khan, both eccentric and eloquent, conveys the immense power and fervor he poured into his singing. This sculpture serves as a poignant testament to the lasting legacy of music and poetry in fostering cultural identity.

The same holds true for the sculpture of Khawaja Ghulam Farid, which encapsulates both spiritual depth and poetic essence. Employing a blend of realism and symbolism, Malik portrays Farid’s visage with profound reverence, incorporating elements that reflect his spiritual journey and literary contributions. Malik has embraced the formidable challenge of capturing the essence of towering, multifaceted figures such as Sadequain, Manto, Faiz Ahmad Faiz, Ghalib, and Tagore. He skillfully intertwines imagery with ideas that are seldom found in traditional sculptures in our region. Each of these luminaries transcends the confines of time and artistry to attain a sanctuary of enlightenment. A harmonious relationship with nature is another aspiration of Malik’s art. We find ourselves ensnared in a reality that alienates us from nature, society, and even from our own essence; yet, we need not strive to dominate the natural world. Through his artistic endeavors, which express a profound yearning for authentic existence, we are beckoned to acknowledge how to enrich the elements within and surrounding us—seeking a true spirituality that honors the essential boundaries we must observe.

Malik did not merely observe forms, pictures, or faces; he immersed himself in the works of these personalities to forge a genuine connection. By internalizing their essence and artistry, he sought to recreate them through his craft. Countless sketches and explorations of various angles refined his depictions. Most of the individuals he sculpted were writers, poets, and authors. Malik delved into their texts repeatedly, striving to understand their personalities through their words. This process was vividly illustrated during the creation of the sculpture of the esteemed French philosopher, scientist, and writer Gaston Bachelard. Malik’s sculptures serve as profound analyses of character, evoking strong emotions. He masterfully captures the ephemeral nature of feeling and expression—whether it be joy, mirth, irritability, or elevated creativity. Rather than presenting formal imitations of models, his works are associative and suggestive, brimming with a life of their own.

Sadequain’s sculpture is layered with symbolism that reflects Malik’s deep engagement with the complexity of Sadequain’s persona and artistic contributions. The prominent features of the sculpture, including the expressive rendering of Sadequain’s face and the interplay of organic shapes, evoke a sense of dynamism and introspection. Malik’s work resonates with a reverence for artistic lineage, positioning Sadequain as a larger-than-life icon who bridged traditional and modern narratives in South Asian art.

Ejaz Malik’s work demands careful and meticulous analysis to fully grasp its depth without losing its intricate connections. His art explores not just the surface but also what lies beneath— beyond tendons, muscles, and bloodstream, through the intricate network of nerves —to reveal the essence as a unified whole, of mind and body. It delves into the ever-evolving process of becoming: expressed through surface, form, texture, and the voids in between. References to the subject’s life, creative process, literature, poetry, music, and mythology subtly weave their way into the work, adding nuances of meaning and resonance.

Prof. Khalid Saeed’s portrait has recently been completed (February, 2025). Malik possesses a distinctive approach to his craft, one that entails a thorough understanding of the individual at hand—delving into their creative endeavors, reviewing recorded videos, engaging in face-to-face meetings, and keenly observing their gestures and moods. His meticulous study of Saeed commenced three years ago when I asked him to sculpt a portrait. When asked if he conceives his sculptures through drawings, the sculptor explained that his process is simply a phenomenon of becoming. He starts with a deep sense of consciousness and awareness, unfettered by any preconceived form or composition. As he nurtures this initial sensation, the form slowly reveals itself. Each fragment of structure steers the progression, molding and influencing the sculpture’s journey as it approaches its ultimate form.

Ejaz Malik creates portraits of individuals who have, in some way, influenced his life and shaped his understanding of the world we live in. The list includes select names, each representing exceptional achievements across diverse fields of knowledge and creativity. Among them, Jaun Elia stood out somewhat precariously. When asked why he chose Jaun Elia as a subject, Malik explained that Elia struck him as a performative poet who infused his poetry with a touch of theatre. Even when his couplets lacked depth in content, his theatrical delivery and undeniable charm completed the experience, captivating his audience. While discussing this particular sculpture, Malik highlighted some of Elia’s most sophisticated works, where the simplicity of language harmonized with the complexity of thought. This balance, Malik believed, deserved recognition and ultimately inspired him to begin the sculpture.

The work captures Jaun Elia’s fragmented personality and his scattered existence. It reflects his strong roots in Amroha, his resettled phase in Karachi, and a third realm— an imaginary place or space where a creative spirit resides with its muse. As a sculptor, Ejaz Malik explored the placelessness of a spirit searching for an integral fragment to achieve completeness. This feeling of never truly belonging anywhere became the premise for the piece. Beyond capturing this spirit, Malik employs a visual language rooted in the three-dimensional world, while simultaneously elevating it to a fourth dimension, where time and space converge to create a continuum of space, time, and memory. His work suggests a fourth or even fifth dimension that hovers over everything conceived by humanity, adding layers of depth and meaning to his creations. Elia’s long hair, bony face, and sad eyes filled with the magic of language and thought, propelled the undiscovered facets of language, history, social criticism, and glorification of the imagined sensations. Malik has positioned figures that evoke ghosts, angels, or enigmatic beings, seemingly perplexed by the poet’s utterances; one senses they may embody the monsters of societal existence, the stifling weight of religious dogma, the burden of governance, or perhaps the oppressed, the slain, or even the very agents of massacre.

Malik’s sculptures transcend the confines of historical movements in sculpture-making. While they subtly evoke elements of classical European styles and their nuances, they are distinctly infused with the rich aesthetic legacy of the Indus Valley Civilization. What sets Malik’s work apart is its intentional absence of ornamentation—a striking choice in a world where decorative elements have been a staple since the days of Michelangelo, persisting even through the waves of modernism and postmodernism. Malik skillfully sidesteps this trend, positioning his creations not merely as sculptures but as architectural models that showcase a unique spatial chemistry and directionality, honed from his extensive experience as an architect. Each piece embodies the complexity of human personality, offering a sanctuary for all facets of existence, ensuring that no attribute remains overlooked. Malik’s sculptures stand poised to elevate the art of sculpture-making in Pakistan, serving as beacon-like exemplars for budding artists. They also honor the iconic figures they portray, reminding us of the significance of our artistic heritage. In a world awash with generic motifs like the ubiquitous Ghora Chowk, we must reaffirm our respect for our artists and their visionary work, for true artistry demands more than mere embellishment.

Prof. Ejaz Malik (1955) is a distinguished architect, artist, and academic, currently serving as Professor of Architecture at Beaconhouse National University. Renowned for his pivotal role in shaping architectural education in Pakistan, he has led the development of programs of architecture and interior design across institutions, including NCA, COMSATS University, where he served as Dean and Chairman. Malik’s practice bridges architecture, sculpture, and fine arts. His celebrated “Bismillah Series” of over 6,500 drawings and a monograph on his iconic KK House reflect his innovative blend of calligraphy and architectural thought. His work has been exhibited nationally and internationally. He has sculpted numerous prominent figures from the worlds of art and literature. Prof. Malik currently resides in Lahore.

Title Image: Ejaz Malik, Indus Valley School of Art and Architecture, Karachi, 2021(left), Sadequain (right), fiberglass, height 52 inches, 2010.

All images are provided courtesy of @Mosaic Academy Lahore and are from the collection of Malik Ejaz. All copyrights are reserved.

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