In the captivating solo exhibition ‘Dreams Woven into Water’ that opened at Chawkandi Art in Karachi on January 4, artist Nusra Latif Qureshi masterfully transforms the martial glories of the past, and more, into a series of contemplative reminders.

She invites viewers to engage with profound questions surrounding historical India and the disruptive impact of British colonisation. Qureshi’s distinctive approach to miniature paintings delves into the enduring theme of cultural rupture, a subject she has explored over several years.

A graduate of the National College of Arts, Lahore, Qureshi furthered her artistic journey with an MFA from the Victorian College of the Arts, University of Melbourne. Residing in Australia for over two decades, her artistic lens also extends beyond the South Asian region to challenge conventional interpretations of Australian culture.

Works such as Pink Bodies in Black Sands, Browned Afternoon Sun and Sequential Damage seamlessly blend traditional historical images from the region of her birth with inspiration drawn from her Australian surroundings. The layers of imagery, reminiscent of Mughal miniatures, depict stark contrasts of weaponry and floral patterns, innocent sparrows alongside conniving crows, encapsulating political thought and intrigue of the past while probing the present, by turning constructed history on its head.

Nusra Latif Qureshi’s latest exhibition continues her artistic quest of wrestling with history

Despite her previous emphasis on female subjects, this show noticeably lacks any female forms except in two works, The Tiger in the Night Escaping and Notes on Affection, creating a deliberate pause in the narrative.

The gesturing hands in many of her works, seemingly feminine, introduce an intriguing ambiguity. Whether manipulating a sword with strings, as in Rules of Engagement, or tugging at a takht [throne], as in Six Degrees of Resentment-I, these hands become metaphors of political and religious iconography. The near absence of female forms becomes a powerful narrator’s pause, disrupting the expected and raising compelling questions.

One striking motif employed by the artist is the sword, symbolising power, authority, courage and chivalry. However, the blades of the multiple swords in her artworks, such as Gardens of Silence-I, Practice Run-I and Practice Run-II, are intentionally bent and distorted.

This distortion may signify a commentary on a past glory that belonged to the region before colonisation, with weaponry seized and people subjugated. The subtle yet powerful symbolism embedded in Qureshi’s art encourages contemplation on the consequences of historical disruptions and the lasting impact on cultural identity.

Qureshi’s artistic prowess has been acknowledged internationally, with exhibitions in Austria, Germany, France, Switzerland, Finland, the UK, America, Canada, Japan, India, New Zealand, Australia and Pakistan. Her works, drawing influences from Turkey to Mesopotamia, and Persia to South Asia, align with the surviving miniature paintings that include travelogues, animal studies, scenes from hunts, battles, and the royal court.

Qureshi’s practice, primarily rooted in political history, has garnered recognition and accolades, including one of the most prestigious and most valuable art prizes in Australia — the Bulgari Art Award in 2019. This esteemed award led to the acquisition of six of her paintings by the Art Gallery of New South Wales, solidifying her place in the contemporary art scene.

Several years ago, Qureshi showcased her versatility at the Venice Biennale, where she used the photographic medium to create a large-scale work titled Did You Come Here to Find History? The piece received much acclaim for its innovative blending of historical Venetian and Mughal portraits with her passport photos, resulting in the formation of multiple identities.

That question seems to continue to linger in ‘Dreams Woven into Water’, urging viewers to discern between what once was and what remains, further enriching the show’s narrative depth.

‘Dreams Woven into Water’ is on display at Chawkandi Art, Karachi from January 4-15, 2024

Rumana Husain is a writer, artist and educator. She is the author of two coffee-table books on Karachi, and has authored and illustrated over 60 children’s books

Published in Dawn, EOS, January 14th, 2024