Anyone who closely follows the work of Australian-Pakistani artist Nazia Ejaz knows that her work offers a visual experience that’s a little off the beaten path. In ‘Full Circle’ the artist aims to delve deeper into the divine feminine form and attempts to settle some unfinished business.

“Earlier this year I was invited to participate in a group show with the title ‘Eve’s Eye/I’ with 13 other female artists,” states the artist. “This show was about celebrating Eve, that is every woman, and all that makes her Eve — her concerns, work, creativity and her strength.

“When I started working for the show I realised that this subject connected to so many threads within my own practice over the last decade that it would require a much larger body of work to fully explore the ideas. This work is my attempt to tug at those threads and allow them to lead me where they may. To see beyond the surface and look past illusions, perhaps a trance, that brings one full circle.”

Most of Nazia’s work has incorporated gold leaf and oil on canvas. And although one gets the impression that she’s worked with a relatively simple colour palette, her work is anything but simple. Hidden within the emerald green hues in The Colour Green are layers of mirrored landscapes, the lines seemingly intentionally blurred, the technique reminding one of the fluidity of watercolours. The mirrors perhaps represent different facets of our lives in the same place, deeply rooted and connected, yet moving on.

Nazia Ejaz’s latest exhibition aims to tap into the idea of femininity beyond the surface and see how the journey brings her back to herself

In the Unstoppable series, going from Unstoppable II, III (emerald green) and IV (rustic orange) the artist is exploring a similar pattern of that which is born out of a tree — a symbol of everlasting life, continuity, nourishment and peace — and circling into hanging flowers and fruits. The trunk, branches and the symbols of fruits and flowers crowd the canvas, covering it completely, showing that life in its prime truly is unstoppable.

By the time we reach Unstoppable V and We See The Moon You And I (which is essentially a continuation of the Unstoppable series but presented as three different canvases placed as a single group) the artist is exploring a deeper, bluer hue. She continues with the tree theme but this time the blue is offset by gold, both giving a very royal touch and feel to the canvas.

In the titular series — Full Circle, Full Circle II and Ocean In A Drop — we continue to remain in hues of deep blue but this time the pattern that repeats is circular. The blue circles, layered on top of one another and offset by gold circles here and there. The pattern reminds one of the beautiful scales of a marine animal that dives into the deep and, while you can see it, it carries with it an air of mystery. And in its texture this pattern, and the thoughts and feelings it evokes, almost comes across as infinite.

This perception is further reinforced when you look at both the painting and the title of Ocean In A Drop. The blue hues, the scales, the air of mystery and glistening beauty, do give the impression of an endless sea. But seeing Ocean In A Drop is like watching someone reenact the viewer seeing the painting — there is a woman (most likely herself) observing the painting. The perspective is such that we are behind her. She, a form of femininity, is connecting with an infinite form of the feminine.

Nazia Ejaz’s work has always been avant garde and ahead of its time. Her focus on patterns, silhouettes, circles and the incorporation of the gold leaf, gives her work an ethereal charm. She dives deep without going dark, her work giving the viewer much to discover and yet remaining pleasing to look at. The atmosphere in the paintings is fluid, beautiful and oddly soothing. ‘Full Circle’ is a feast for both the eyes and the soul.

‘Full Circle’ was exhibited at the Tanzara Gallery, Islamabad, December 15-30, 2022

Published in Dawn, EOS, January 8th, 2023