INTERVIEW WIT H ARTIST , NAIZA KHAN

Naiza H. Khan studied art at the Wimbledon School of Art, the Ruskin School of Drawing and Fine Art and Somerville College at the University of Oxford.

Swept away by the rising tide | By Rabia Ashfaque

Work by 42 artists go up on display at the Mohatta Palace Museum.

KARACHI: As the Mohatta Palace Museum opened its doors to display works created by 42 artists from across the country between 1990 and 2010, it wasn’t just the sheer magnitude of the exhibition that took one’s breath away.

New directions in art: Mohatta Palace Museum | By Marjorie Husain

KARACHI: A mega-exhibition displayed at the Mohatta Palace Museum titled, ‘The Rising Tide,’ is a show with much to offer. Covering the ground floor of the Museum is the work of 42 artists divided into six categories: Cartographies of Intimacy; The Urban Transition; Languages of Belonging; Between the Real and the Fabricated: Imagined Worlds Envisioning Spaces and Ghosts in the Turret Room.

Operating Above the Law | By Fatima Bhutto

Three young Pakistani women express oustpoken resistance to state-sanctioned

gender-based repression through brave art practices.

Where I work Naiza Khan | By Elaine W. NG

Naiza Khan chose her house in Karachi because she could envision building a studio attached to it. “We carved out a studio space from an annex above the garage, integrated it with the house and let in the northern light,” Khan recalls.

Pakistan Artist Explores the female form

A Pakistan artist who uses steel sculpture and armour like shapes to explain the female form and political and personal space has opened a show of her latest works in London.

By Russel Harris

Art Dubai A stuffed camel in a suitcase, gold-plated talking Muslim shower heads, a life-size clay “witness” and child lying face-down in the flower bed, armour lingerie adrift in a ramshackle boat on an artificial lake…

Peripheries of thought and practise in Naiza Khan's work | By Auj A Khan

To talk about an artist's work is a tricky thing. And to access the being of the work a truly satisfying point. As what is to be found there or revealed, is usually that which we fail to confront or see within ourselves.

By Salwat Ali

Feminist Polemics At one combative an defensive, Naiza Khan’s metallics sculptures of female body armour simultaneously celebrate an desecrate the female form.

By Auj Khan

What is the essence of Naiza Khan’s oeuvre? I think her work developed after hard study and extreme self awareness.

By Saira Akhtar

Before the violence last weekend had the City of Lights seeing red, I had artiste-studded week.

By Aasim Akhtar

There’s nothing in the world like the pain that accompanies the end of a great love affair. In his ‘A Lover’s Discourse’, 1977, Roland Barthes isolates the way in which this piercing sorrow greets the spurned subject most cruelly in the blurry, semicolons moments when he or she is roused from sleep.

Writing the Body | By Aasim Akhtar

It is worth noting that Naiza Khan’s drawing is a vital and revealing part of her practice. The image pushes the contrast between painted shape and liminal line about as far as an image can, depicting an embrace that is at once violating and palpably affectionate.

Sieving things through | By Salwat Ali

Treatment of the feminine form as a zone of contest and celebration, its selection as a site for resolution, catharsis and debate has produced surprisingly new and alarming images of women.

How white dazzles. White purrs the silence of extreme heat and extreme cold. It mourns while bearing testimony to its own purity. It scorns its own stainlessness.

Art material | By Quddus Mirza

How do you view the globalisation of art our here?

Naiza Khan: Actually, two things are happening simultaneously. One, (Pakistani) artists are exhibiting in international, biennales and triennials, and second art workshops are being held in Karachi where different individuals work together for a specific period of time.

Spirit in Chains | By Niilofur Farrukh

Naiza’s work explores the realm of women’s oppression.

In the twentieth century , battles against the oppression of women, the pill and legal abortion will be counted as territorial gains.

Oscillating between art mediums | By Shanaz Ramzi

The problem with people in art-related fields in Pakistan is that they are hesitant to make a cross-over from one art genre to another. There are very few people who are willing to make the transition here.

Expressions of life | By Mohsin S. Jaffri

A western educated artist, Naiza Khan has the best of both worlds, East and West. Her education and exposure to western culture has not affected her eastern upbringing and accepted norms of Pakistani culture and society.

Depicting ‘crises of survival | By Hameed Zaman

Naiza Khan, a brilliant painter and printmaker is hooked on poetry and is exhibiting some sensational charcoal studies based on Maulana, a poetic masterpiece of Maulana Hali, who wrote it at a time when the Muslims of this subcontinent were passing through a crisis of survival and political emancipation.

Made was again seen as the viewer came up the stairs, fist the head was seen emerging out of the floor, then in the next frame the torso appeared and finally in the third, the whole figure was seen…

The body of art | By Quddus Mirza

It is a recent phenomenon: a number of artists are creating works which because of their dimensions and appearances do not fit well in the art market.

Hair and there | By Quddus Mirza

Human hair signifies two paradoxical concepts. It is associated with beauty, charm and youth.

Mini-narratives in art | By Mamduh Waheed

If you were to encounter Naiza Khan’s work only in art galleries and public displays, you would be baffled by her pieces —- in an exciting way of course.

Naiza Khan transforms a gallery space with female forms that voice gender issues. The human body has always been a significant feature of aesthetic expression.

Naiza Khan’s new body of work

titled “Voice merge”

Naiza Khan: A whiff of fresh air

To get out of being stuck you have to branch out. Hence the continuing experiments. Drawing, paintings, collages, etchings, engravings, calligraphy, photography, sketching, and then juxtaposing, one upon the others.

Point of Departure | By Niiofur Farrukh

The female form is central to Naiza Khan’s work on display at the Chawkhandi Art in Karachi. She has used it as”… a point of departure.

Shadow Work | By Dr. A Naqvi

Naiza Khan put up four oil paintings, more than a dozen drawings, and several water colors on exhibition at the Chawkandi Gallery in October.

Point of Departure | By Marjorie Hussain

The future of art belongs to, as yet unknown artists in forms unforeseeable at present as norms constantly change.