- Board and Committee Member:Studio Pottery.co.UK Board of Governor “Teveta”Juror:Indus Valley School of Art and Architecture, Karachi. National Collage of Arts, Lahore.
- Selected Exhibitions:2007 National Exhibition, Islamabad.2006 Arts Council. Karachi.2005 Chawkandi Art, (solo). Karachi.
2004 Ejaz Galleries, (solo). Lahore.
2003 Nomad Gallery, (solo).Islamabad
2003 Ceramics Tri annual, Arts Council, Karachi.
2002 Urran Exhibition, Zenaini Gallery, Karachi.
2002 National Exhibition, ALHamra, Lahore.
2001 Ejaz Galleries, Lahore.
2000 Journeys with the clay, Arts Council. Karachi.
2000 V.M. Gallery, (solo), Karachi.
1998 AUS-PAK, N.C.A. gallery, Lahore.
I was born to draw and create. Art is a way of carrying on a tradition and knowledge. It involves creativity, which grows from human experience, thoughts and communication.
Hyderabad, my hometown, is a small city near the river Indus, the source of the ancient Indus civilization of Pakistan. Despite such a strong connection to art, culture, and heritage, the city is a barren land for contemporary art. In 1995, after a long debate with my family, I moved to Lahore and got admission at the National Collage of Arts (NCA) in Lahore.
Born 1974, in Karachi, Pakistan
Artist Abdullah M.I. Syed was born in Karachi, Pakistan and presently works between Karachi and Sydney, Australia. Syed’s artwork utilizes a variety of mediums and techniques to communicate complex political ideas. This includes print screening and the shadow play produced with dollar bills and razorblades. His political commentary tackles controversial topics such as the War on Terror, immigration, and Western attitudes towards the East. He participated in the Britto artists’ workshop and an artist residency at Cicada Press. He has also co-curated exhibitions, notably Michael Esson: A Survey of Drawing, Michael Kempson: A Survey of Prints, Aboriginal Dreams and Let’s Draw the Line in Karachi, Pakistan. As a designer he co-coordinated the Design Department at the University of Karachi as well as lectured there and at UCO in the United States. He is currently completing his Ph. D at the College of Fine Arts in Sydney, Australia.
Fatima Zahra Hassan was educated at the National College of Art Lahore and Royal College of Art London where she got her MA with distinction and was then offered to do PhD in Visual Islamic and Traditional Arts from the Prince’s School of Traditional Arts, London in 1997. Zahra, as she prefers to be called has taught since 1994, extensively on Indian, Mughal & Persian miniature painting and drawing, decorative arts of the Muslim World and have also conducted in-numerable workshops in the area of her specialisation at the Victoria & Albert Museum London, The British Museum, Asia House, National Maritime Museum Greenwich, London, The Globe-Shakespeare Theatre, Birmingham Art Gallery, Art in Action Water Perry Park Oxford and at many other venues nationally and internationally.
Besides being involved in adult learning and community education, she is actively engaged in post graduate teaching at the London Prince’s School of Traditional Arts. She is also part of many research groups including the University of Cambridge Shahnama Project. She is pioneer in introducing the art of Indian, Mughal and Persian painting in UK. Her contribution towards practical arts of the Islamic world with a focuss on Art of Book from South Asia and Iran make her a person of exceptional abilities. Zahra has been a Scimmel scholar, a winner of World of Islam and Al – Tajir Trust and Brakat Awards for her MA and PhD. She was also declared as the best artist of 1993 MA RCA degree show by Daily Telegraph. She was selected as one of the Muslim Female Role Models by Tribal UK in 2007. She has exhibited nationally and internationally and her works her in private and corporate collections to name a few; HRH The Prince of Wales, Aga Khan Development Network, Kabul. She has illustrated two children books published by London publishers namely, “Avicenna – Prince of Physicians” published 1995, and “Kingdom of Joy – Tales from Rumi” published in 2002 with some more titles in the pipeline. She has also designed & embellished various surfaces inspired by Islamic and South Asian art & desgn motifs for a variety of products, namely; tile, carpet, embroidary, tableware, etc.
She has shown her works in Henry More Gallery RCA London, London, Leeds City Art Gallery, Mall Galleries London, Royal Birmingham Society of Artists, National Portrait Gallery London for auction, Royal Windsor Castle, Alan Baxter & Associates Gallery London, National Building Museum Washington DC, USA, The Prince’s Foundation Gallery London, Museum of Islamic civilisation Sharjah, UAE, etc.
Her research interests are mainly in the Middle Eastern and South Asian Manusrcipt Illustartion / Art of Book, knowledge transfer through the Silk Route, Drawing and Denotation Systems and Mathematical Proportions in Islamic Art. She is currently developing new ideas in art and technology. Currently teaching at the College of Fine Arts & Design, University of Sharjah, UAE. Besides, Fatima Zahra is a visiting scholar and an artist at various universities in UK & Pakistan.
Waseem Ahmed was born in Hyderabad, Pakistan in the year 1976. He graduated from National College of Arts Lahore in year 2000 with “Honors” in the field of Miniature Painting and since then his work has been widely exhibited nationally and internationally.
He is one among few contemporary Pakistani artists who have recently turned to this ancient Mughal tradition, fusing it with modern elements. His work highlights intricate and delicate brush work which lends an exclusive distinctiveness to his pieces. During the course of his practice, Waseem has played with a diversity of ideas. His work shows glimpses of contemporary sociopolitical events; some employs paintings of the old Western masters.
Waseem has participated in various national and international group and solo shows.
2003 Critical Appraisal for arts work held in Lahore, conducted by ‘British Council’. 2004 Degree in Fine Arts from National College of ArtsAnjuman Mimaran Architectural Calligraphy Workshop, Centre of Health and Population Studies Lahore, Pakistan
A few years ago, Qamar Siddiqui’s three paintings in a group show caught the attention of the viewers. He had painted traditional pots in realistic style with vibrant colours including Hala blue. His current fifteen large scale exhibits speak for his skill and imagination and a sensibility for self editing. There is nothing superfluous on his canvases. Each form serves as a symbol of some idea. The show, entitled ‘Reality of Life’ opened at Chawkandi Art, Karachi on October 16, 2012.
So far as Siddiqui’s concept, which is evident from the title of his exhibition, is concerned, he proceeds with a hypothesis. The viewer assumes that perhaps the painter has discovered reality of life at a higher scale. Although he is spiritually inspired and no creative activity is devoid of spiritual element, in his paintings he raises issues rising from the ground level. These are preachings from an ethical code derived from a religious source. At the basic level every hypothesis splits up into two directions; one is negative and the other is positive. Adaptation of any one of the two results accordingly. By negative he means secularism in a commonly understood way and by positive he means the path of a believer. His canvases mirror sophisticated and mature knowledge of an art structure presupposing the vastly complex processes: conceptual, perceptual, symbolic and the rest, involved in the understanding of any structure.
Siddiqui endows his paintings with personally-embodied experience of meaning. His experience is based on his feelings which are inspired from his religious belief.
So far we have spoken about what lies beneath the paints on his canvases. The bare eye sees chess boards, red, blue and black, yellow and white paints, keys feathers and human profiles, forms suggesting cuddled up human bodies, obviously drawn hands and feet and sandals. With all these elements, Siddiqui creates a drama of aesthetics. Skillfully he forms human structures with delicately painted white feathers in grey tones and places these forms close to red and black and black and white chess boards. Black and white chess boards are symbols of life we are living on earth; red and black chess boards refer to a life full of lust. Delicate feathers which construct the structures of heavily formed human bodies are symbols of purity. Against grey tones he makes a bowl and arises from it a recast of the bowl in Hala blue as a symbol of light, the light that renders our actions the value of goodness. As nothing is superfluous on his canvases, the key on top of the blue image is a tool to open the closed doors of what lies beyond the physical. In this painting the imagination travels from the physical to the metaphysical. This action takes place under the ‘positive’ approach of the artist. This same painting can be interpreted as opening doors of the unknown with the key of knowledge.
Siddiqui’s paintings hold a place in the international market.
“For me painting is an absorbing reality. My earliest paintings reflected many social problems but with the passage of time my paintings have become more solitary: mud houses, pigeons, sparrows, kites, shadowy lanes,lonely animals, light, half-closed doors, windows and stairs.All are similes of my expression.I see myself dwelling in a mud house, captivating walls, birds, shadows with rays of light, patches of deepest dark. And amidst them are unseen hidden people. Their unfulfilled desires, their hopes and aspirations all seek thesternal light of fulfillment. In my fresh work, ceilings of houses and bright lines of light are floating prayers. The doors and windows are dreams. Coming out of the Great Beyond, I see a glimmer of light, a ray of hope. I walk through the dark night, sure-footed, leaving my prison vault far behind.” Mussarat Mirza Mussarat Mirza did her master’s in Fine Arts from Punjab University, Lahore. From 1965 to 2004, she participated in many in Canada, Iran, U.A. E., Korea, UK, Bangladesh, France, China, Japan,India and East Africa. She has done more than two dozen solo shows acrossPakistan and has participated in numerous group exhibitions between 1967 and2008. Mussarat was awarded the International Asian Shield, water color, Osaka,Japan in 1988.
Tassaduq was born in Jullandhar 1930 and has studied at St. Martin College of Art, London. He has been living in England for a number of years and has only recently returned to Pakistan. Being a short story writer, a striking feature of his work are the titles of his paintings. They seem to have a profound connection with the images, depicting the cynicism and the scorn of the artist. A remarkable feature is his ability to say a lot in very limited space. His work is almost in miniature style, painting fetching details on minute canvases. Tassaduq claims his best works stem from bouts of depression. “I express my state of mind, regardless of how it will be interpreted.” His work is primarily narrative, and is laden with symbols. Trees, caves, old castles, fish, mermaids, even nudes, often appear in his paintings. People like his work because they sense a story in it. The symbols in his paintings are not for decoration…” they provide my art with depth and meaning”. They add a surreal touch that is very important, and makes a painting more than just an image.