After a decade of epistolary exchanges, I finally met Shahzia Sikander, Pakistan’s most celebrated global icon of the arts, ironically unsung at home.
Shahzia Sikander Selects, 2009, Cooper Hewitt National Design Museum, New York
“Not to be boxed in, to be able to transcend boundaries: for an artist, it’s essential.”
It is a pity that I got to discover Shahzia Sikander’s work only when I left Pakistan. After her initial successes in the 1990s, with her migration to the United States, she slowly disappeared from the local art scene and the narratives within her country of birth, almost rendered invisible, like the mythical characters one reads in the folklore. In a different country, she would be celebrated for being a global icon, intensely original and gifted. Not in her country of birth where talent is subjugated to the cliques that define ‘excellence’ and where history has to be doctored to make the present legible and comfortable.
The Scroll, 1989-91
Sikander graduated from the National College of Arts in 1991. Her innovative work struck everyone since she had done something remarkable with the miniature form. Reinterpreting the format of a traditional Indo-Persian miniature, she crafted a personal relationship and in a way liberated it from the clutches of ‘tradition’. Prior to her work, the late Zahoor ul-Akhlaq inducted postmodern ideas during the 1970s and 1980s and suggested how miniature remained a relevant form for ‘contemporary’ artists. In his own work he borrowed elements of the miniature form and merged them with the abstract style he practiced. Sikander went beyond and using miniature as the foundation for her work created something new. Her teacher Ustad Bashir Ahmed encouraged her and thus began the great revival. Later, Imran Qureshi, Aisha Khalid, Ambreen Butt, Saira Wasim and many others took this movement forward and they are all globally celebrated artists in their own right.