1. Your early works often incorporated everyday domestic objects, transforming them into sculptures that comment on societal norms. How has your artistic practice evolved over the years, and what influences have driven this transformation?

My artistic practice has evolved significantly over the years. Initially, my work focused on transforming everyday domestic objects into sculptures, which allowed me to explore and comment on societal norms, especially related to gender roles and the domestic sphere. These objects served as a metaphor for the hidden narratives and constraints within our society.

As I’ve grown as an artist, my focus has shifted to more complex themes such as violence, politics and cultural identity, often reflecting on the socio-political landscape of South Asia. Influences for this transformation come from my personal experiences and observations of the world around me. My interest in history and the intricacies of cultural narratives also play a vital role in my evolving practice.

I’ve also been deeply inspired by traditional craftsmanship techniques, particularly metal repousse work, Vespa painting, embroidery and wood carvings which have become integral to my artistic language. This allows me to bridge the gap between traditional and contemporary art forms, offering viewers a way to engage with both the past and the present.

My exposure to diverse international art scenes and collaborations has enriched my perspective, enabling me to address universal issues while maintaining a strong connection to my roots.

•  Your work frequently juxtaposes themes of violence with aesthetically beautiful forms. What draws you to explore this paradox, and what message do you aim to convey through this interplay?

Exploring the paradox of violence juxtaposed with aesthetically beautiful forms has been a central theme in my work. I have always been drawn to this interplay because it mirrors the complexities of human experience and the contradictions within society. Beauty often acts as a veil that hides the underlying harsh realities, and through my art, I aim to uncover these layers.

By presenting violence in visually beautiful forms, I hope to engage the viewer in a dialogue that challenges their perceptions and provokes introspection. This juxtaposition is intended to create a tension that compels the viewer to look deeper, to question, and to acknowledge the unsettling truths that often pass unnoticed beneath the surface of beauty.

•  As a female artist in Pakistan, how do you perceive the role of women in the contemporary art scene, and how has your work addressed or challenged societal perceptions of gender roles?

As a female artist in Pakistan, the contemporary art scene are both challenging and transformative. While there has been progress in recent years, women in the arts still face significant barriers and societal expectations that can limit their visibility and opportunities. However, I believe that female artists are increasingly finding their voice and asserting their presence in the cultural landscape, paving the way for future generations.

My work directly addresses and challenges societal perceptions of gender roles by exploring themes of femininity, identity, and power dynamics. Through my art, I endeavour to dismantle stereotypes and confront the traditional narratives that often confine women to specific roles within society. By utilizing familiar domestic objects and transforming them into powerful sculptures, I aim to highlight the complexities of women’s experiences—both their struggles and their strengths.

•  Being based in Karachi, a city with a complex socio-political landscape, how has the environment influenced your art, particularly in addressing themes of conflict and resilience?

Karachi is a city with such a rich yet complex socio-political landscape, which has profoundly influenced my art. Karachi city is my source of ultimate inspiration! The environment here is one of stark contrasts—beautiful yet troubled, vibrant yet conflicted. This duality informs my practice and drives me to address themes of conflict and resilience in my work.

Karachi has witnessed significant social and political turmoil, which shapes the daily lives of its residents. Living and working in such an environment has instilled in me a deep awareness of the issues surrounding violence, displacement and identity. These experiences fuel my desire to reflect on the interconnectedness of these themes through my art.

In my pieces, I often draw on local narratives, using materials and forms that resonate with the cultural context around me. I strive to capture not only the struggles faced by individuals but also their resilience and ability to adapt in the face of adversity. My work aims to tell stories of strength and survival while acknowledging the pain and challenges that accompany them.

• As a founding member and director of the Vasl Artists’ Association, how do you see the role of such platforms in fostering artistic dialogue and cultural exchange, both locally and internationally?

Associated with Vasl since 2002, I see our platform as crucial in fostering artistic dialogue and cultural exchange on both local and international levels. Vasl serves as a space for artists to connect, collaborate and share their diverse perspectives, creating a vibrant community that nurtures creativity and innovation.

The role of platforms like Vasl is vital, especially in a region where access to artistic resources and opportunities can often be limited. By organizing workshops, exhibitions, and residencies, we not only provide artists with exposure to new ideas and techniques but also facilitate meaningful conversations that challenge and expand their practices. This exchange of ideas helps us collectively navigate the complexities of our cultural identities and societal issues.

On an international scale, Vasl acts as a bridge, allowing local artists to engage with global narratives while also introducing international artists and audiences to the rich tapestry of Pakistani art and culture. This cross-cultural dialogue enriches both sides, fostering understanding and collaboration that transcends geographical boundaries.

•  Your installation “Killing Fields of Karachi” during the Karachi Biennale 2019 sparked significant discourse. Can you share your experience surrounding this work and its aftermath?

The ‘Killing Fields of Karachi’ was a deeply personal and poignant exploration of violence and its impact on our urban landscape. The work aimed to create a visceral experience, prompting viewers to confront the harsh realities of loss and trauma that permeate life in Karachi. I tried to explore the ecology of violence – how it effects mind and soul and how the memory of violence is embedded in the land where the heinous crime was committed.

The process of creating this installation was both challenging and cathartic. I sought to reflect the collective pain and resilience of a city marked by conflict, using materials and imagery that resonated with the local context. The response to the piece was overwhelming, sparking significant discourse around themes of violence, memory, and loss and the role of institutions.

In the aftermath of the installation, I found that it opened up important conversations among viewers about the normalization of violence in our society and the ways in which art can facilitate dialogue and reflection. I learnt two things, Firstly, the power art has in a country like Pakistan, that in two hours of the public opening, “they” had to break each and every pillar and eventually on third day break it with hammers and had to remove it. Secondly, how weak our art institutions and organizations are in a country like Pakistan that the biennale team had to throw me under the bus to save their necks. 

•  What guidance would you offer to young artists who are navigating their paths in the contemporary art world, especially those addressing socio-political themes?

My advice to young artists particularly those addressing socio-political themes, would be to stay true to your voice and experiences. Authenticity is vital—your unique perspective is what will resonate most with others. Don’t shy away from expressing your truths, however uncomfortable they may be.

Engage deeply with your context. Understanding the socio-political landscape around you—the stories, struggles, and hopes of your community—will enrich your work and make it more impactful. Use your art as a tool for dialogue and to provoke thought. Art has the power to challenge norms and inspire change.

Don’t be afraid to experiment with different mediums and forms. The contemporary art world is diverse, and innovation often arises from merging traditional practices with modern techniques. Embrace failure as part of the process; it can lead to unexpected discoveries and growth.

Lastly, cultivate resilience. The art world can be challenging and sometimes discouraging, but perseverance is essential. Continue to learn, adapt, and stay passionate about your practice. Your voice matters, and as you share your story through your art, you may inspire others to do the same.

By Ahwar Nasir

The Karachi Biennale, Pakistan’s largest contemporary art platform, returned this year with its fourth edition, transforming Karachi into a hub of artistic dialogue and engagement. The Karachi Biennale Trust has been instrumental in revitalizing public art spaces across the city, creating an expansive platform that unites artists from across Pakistan and the world.

Since its inception, Karachi Biennale has grown remarkably, holding three successful events from 2017 to 2024, each one further reinforcing Karachi’s position on the international art stage. Supported by local and global art communities, the corporate sector, and various cultural and educational institutions, Karachi Biennale brings contemporary art into the public sphere, inviting audiences to experience immersive installations and thought-provoking art.

The theme of KB24, “Rizq | Risk”, delved into the complex intersections of food security, environmental sustainability, social justice, and cultural heritage. Curated by Waheeda Baloch, the theme aimed to spark critical conversations around how global food systems are affected by colonialism, globalization and climate change, and how these impacts ripple across local communities and traditional practices.

Waheeda Baloch, deeply affected by her work with communities displaced by the 2022 floods, shared her vision for this edition, describing how art can be a medium for highlighting forgotten narratives and championing indigenous practices.

The Biennale’s inauguration took place at the historic Bandstand in Bagh Ibn-e-Qasim, its century-old structure illuminated to showcase its architectural beauty and legacy. This simple yet enchanting ceremony was attended by distinguished guests, including Mayor Murtaza Wahab,

who spoke of his commitment to revitalizing heritage sites like Frere Hall and the Bandstand with cultural events for Karachi’s citizens.

Murtaza Wahab being escorted by Niilofur Farrukh and Almas Bana

Managing Trustee of the Karachi Biennale Trust, Niilofur Farrukh, emphasized the Biennale’s mission to make contemporary art accessible by integrating it within heritage spaces, allowing the public to engage with these environments and form collective memories. At the opening, the KB24 Juried Art Prize was awarded to Nadeem Al Karimi and Maham Nadeem, a duo from Hunza, for their impactful work “The Last Act” and “Dismantling Life”, which poignantly addresses the loss of natural habitats in Hunza due to urbanization. Their installation, situated at Bagh Ibn-e-Qasim, uses discarded food wrappers to highlight the environmental effects of tourism and urban development.

The artists duo, Nadeem AlKarimi and Maham Nadeem received the Juried Art Prize

The KB24 EBM Emerging Artist Prize was awarded to Anusha Khwaja from Lahore, whose work emphasizes the vital link between women and food production, honoring women as both growers and nurturers.

KB24 brought together 40 artists from 10 countries, who explored the theme “Rizq | Risk” through installations, performances, videos, and paintings at multiple venues, including Bagh Ibn-e-Qasim, Alliance Française, Frere Hall, NED University, and Sambara Art Gallery. From interactive installations to thought-provoking video art, the works reflected on the impacts of recent floods and heatwaves on Pakistan’s food security. Artists raised questions about colonial and neoliberal policies that prioritize profit over ecological balance and presented indigenous knowledge as a pathway to healing the environment.

A particularly moving part of the Biennale was the exhibit “Artists of Gaza live in our hearts”, a collection of tapestries created by art students across universities in Pakistan, installed at Bagh Ibn-e-Qasim. This tribute honoured the resilience of Gaza’s artists and highlighted the universal role of art in capturing and preserving the human spirit.

In addition to the art exhibits, KB24 featured an extensive public programme with artist talks, keynote discussions, workshops, and guided tours. At the reading room in Bagh Ibn-e-Qasim, visitors could gather and immerse themselves in books and literature connected to the Biennale’s themes, enriching their experience of the art.

Reading Room at Bagh ibn-e-Qasim.

Among the standout installations and performances at KB24, several artworks left an indelible mark with their powerful messages and intricate artistic approaches.

Sadqain (Pakistan) presented “Water Spill and Nala” at NED University, using concrete, plaster, and pigments to evoke the relationship between water and pollution. This Lahore-based artist invited the audience to consider how water holds memories and traces of land, symbolizing both purity and contamination. With dye dispersing over slabs, his work showed how pollution often remains unseen yet ever-present.

Sadeqain’s artwork displayed at NED University (city campus)

Christer Lundahl and Martina Seitl (Sweden) showcased “River Biographies / That Which Is Not You but of Which You are a Part”, a sensory performance that blurred boundaries between human and natural elements. Visitors wearing sightless goggles were led by others, immersing themselves in the experience of being like water or stone. This interaction emphasized trust, interdependence, and the fluid connection between people and the natural world.

Public interaction with Lundahl and Seitl’s performance.

Salim Bayri and Ghita Skali (Morocco/Netherlands) contributed the “Sunflower Seed Project”, a participatory piece encouraging visitors to consume sunflower seeds while reflecting on food security and monoculture.

Salim Bayri and Ghita Skali’s installation at Sambara Art Gallery.

Bita Razavi (Finland/Iran) displayed “Bita’s Dowry” , a series of photographs and audio recordings depicting objects collected by her grandmother during the Iran-Iraq war. This project explored the themes of generational memory, marriage, and social expectations surrounding dowries. Her work resonated deeply in Karachi, touching on the universal experience of women as custodians of familial heritage.

Bita Razavi’s artwork at Bagh ibn-e-Qasim.

Naiza Khan (United Kingdom/Pakistan) exhibited at Frere Hall, displaying paintings such as “The Streets are Rising” and “Kurrachee, Past, Present, and Future”. These pieces mapped Karachi’s complex landscapes, illustrating the impact of colonialism and climate on the city’s fragile infrastructure. Naiza’s works explore the intersection of land, borders, and environmental degradation, highlighting ongoing challenges in urban planning and pollution.

Naiza Khan’s paintings at Frere Hall.

Finally, Sepideh Rahaa (Finland/Iran) shared her video installation “Songs to Earth, Songs to Seed”, documenting the rice cultivation process in Mazandaran, Northern Iran. The 20-minute piece wove local songs sung by women during harvest, emphasizing intergenerational knowledge and the environmental challenges faced by Iranian farmers under economic sanctions.

Sepideh Rahaa’s artwork and video at Alliance Française.

Each of these installations and performances at KB24 embodied the theme of Rizq/Risk, offering a rich perspective on pressing issues in food security, environmental justice, and cultural preservation. These artworks engaged viewers in thoughtful, hands-on ways, fostering an intimate connection with the Biennale’s themes.

Nadeem Ali Karimi’s installation.

The Fourth Karachi Biennale closed with a vibrant ceremony at the historic City Council Hall in the Jamshed Nusserwanjee Building, spotlighting this landmark’s rich heritage. With prominent citizens, artists, and institutional heads in attendance, the closing event celebrated KB24’s public engagement and diverse artistic contributions.

Niilofur Farrukh, the Managing Trustee of the Karachi Biennale Trust, commended Karachi’s enthusiastic response, especially from youth, to the 40 participating artists from across Pakistan and around the world. She also advocated for establishing a Karachi Contemporary Art Museum in one of the city’s heritage sites to honor the city’s creative vibrancy and growing global art reputation.

Curator Waheeda Baloch shared insights on curating this edition, and awards were presented to outstanding contributors. Swedish artist duo Christer Lundahl and Martina Seitl won the KB24 Performance Art Prize for their immersive installation, “River Biographies”, while “Artists of Gaza Live in Our Heart”, a collaborative project by Textile Institute of Pakistan, won the collateral exhibition award.

Photo by Humayun Memon copyright Karachi Biennale Trust KB24

Photo copyright Karachi Biennale Trust KB24

Bringing vibrant art from the drawing room to the pathways, a street art festival took place recently at Port Grand in Karachi. Curated by Pomme Amina Gohar, the event was a kaleidoscope of colours and talented artists. Stepping into a world where art meets the streets, the Karachi Street Art Festival celebrated the spirit of Karachi through the canvas of creativity.

From street art masterpieces to digital installations, the festival offered a variety of diverse artistic expressions. Following are a few that stood out the most:

Tribute to My Father – Pomme Amina Gohar

Unravelling everlasting connection and memories through cherished objects, Pomme Amina Gohar pays a heartfelt tribute to her father, Aitzaz ‘Jaji’ Shahbaz. According to the curator, her father was a man who was larger than life and lived it to the fullest.

Evolving Thoughts – Abdul Jabbar Gull

Abdul Jabbar Gull tries to explore the mysterious link of the corporeal world to the ethereal world. “Searching for answers, I am confronted with ever deeper, unresolved questions. Translated into the focus of my subject as three dimensional, winged forms, I endeavour to discipline my thoughts and create order by juxtaposing them with the Thakhti, a symbol of awareness. Still my thoughts fly hither and thither, leading me into unknown dimensions, ever teasing ever intriguing,” shares the artist.

Pain – Gabrielle Brinsmead

These paintings are a part of a larger series of works called Strangers and Pilgrims. All the paintings in this series describe the sometimes circular, sometimes baffling journey that each person on earth is making.

Ascent – Sanki King

One of the most important beliefs that have existed, and widely accepted throughout history; from the advent of the first human tribes, to this day, is the belief that humans have two existences, a physical one and a spiritual one. And when people die, their souls follow a divine path to ascension, rising up to higher levels of existence – in religious beliefs, closer to God, in spiritual beliefs, closer to the “source.”

Snakes & Ladders – Obaid Ur Rehman

The artwork represents a fun interpretation and a twist to the nostalgic game of Snakes and Ladders.

The Fallen Cone – Syeda Sheeza Ali

The Fallen Cone serves as a poignant metaphor for the human experience. It encapsulates the bittersweet notion that happiness can sometimes feel tantalizingly close, only to slip away at the moment of anticipated fulfillment, which is what the artwork conveys.

Q Quest – Amin Gulgee

The display hints at a journey of mechanical flying across the cratered Amber Moon.

Loss – Behram Farooqui

This installation highlights the ongoing genocide and ethnic cleansing happening in the state of Palestine.

Wonder – Talhakaar

“Wonder” is an immersive experience and an interplay of light, reflection and illusion. It is a visual journey that invites viewers to contemplate the infinite potential of perception by combining tech, mirror work and light.

Expressing her opinion about the festival and installation, Curator Pomme Amina Gohar said, “This vibrant space isn’t just about viewing art – it’s a multi-sensory experience. It’s a labour of love and creativity. The presence of art maestros in the show has given tremendous courage and guidance to emerging talent.”