As Western economies grapple with recession there is a steady shift of financial power to new regions and the global art market — once concentrated in London, New York and Paris — has followed suit. “Today, driven by new waves of artists, dealers and collectors freshly minted art industries thrive in the Gulf region, India and most dramatically in China,” writes Arsalan Mohammad, editor of the Harper’s Bazaar Art Arabia about the phenomenon.

International visibility in the art capitals and emerging markets as well as novelty of the contemporary miniature spiked with politically volatile art were the two primary catalysts that galvanised Pakistani contemporary art into a forceful new aesthetic. The initial impact of the local global encounter was dramatic. Suddenly there was a cadre of globetrotting, biennial hopping artists who were showered with opportunities to exhibit in foreign galleries, participate in art fairs and museum scale shows and have their art come under the anvil at Sothebys, Christies and Bonhams.

Today, this first flush having lost its edgy momentum now evolves at a steady (read realistic) pace as our artists are still coming to terms with the demands of domestic and foreign markets.

Salwat Ali writes about a new breed of globetrotting Pakistani artists who are making their mark in the international market

Among Pakistani artists making their mark in the international market — there is still a clutch of internationally recognised artists like Rashid Rana, Imran Qureshi, Aisha Khalid, etc, who command high prices and for whom opportunities for exhibitions and sales continue to grow. However, for many prospects have dwindled, some have either gone under the radar or are now concentrating more on developing their practice and strengthening their relationship with local audiences.

Yet another tier is of Pakistani artists who have migrated to foreign locales but continue to source or derive inspiration from events at home as well as their host countries. The mixed nature of their work is variously tagged as being of Pakistani origin, South Asian or diaspora art.

Commenting on this ‘intriguing East-West symbiosis’ Arsalan Mohammed writes that, “In the Gulf, India, and China, global art business staples such as dynamic gallery spaces, art fairs and biennials have seen the world’s new art players filtering local artistic traditions, cultural heritage, and contemporary global influences into unique products.” There is a distinctive vocabulary to such multi or bi-cultural art which when viewed by diverse audiences leads to varied interpretations.

The initial impact of the local global encounter was dramatic. Suddenly there was a cadre of globetrotting, biennial hopping artists who were showered with opportunities to exhibit in foreign galleries, participate in art fairs and museum scale shows and have their art come under the anvil at Sothebys, Christies and Bonhams.

“Pakistani artists do well in India. It is because the art they produce has a different language and their approach towards art is completely different from the Indian artists,” writes Roshini Vadehra, director Vadehra Art Gallery, in the Times of India.

So, how are Pakistani artists making their mark in the international market as they confront the local / global modalities?

Known as wood carver and miniature painter, the National College of Arts graduate Humaira Abid who lives and works in Lahore, Pakistan and Seattle (US) insists that “quality of work is most important.” “Participating in residencies, international workshops, symposiums and shows play, an important role not just in personal learning and exposure but also to make connections, which can result in more opportunities. There is no short cut; it is a slow process but it works best if it is continuous.” She talks of keeping oneself abreast with art developments, constant improvement and innovation “so that artists can raise the bar not just for themselves but also for other artists.”

Born in Lahore Shireen Kamran, an established Montreal-based artist exhibits regularly in Karachi. Drawing on Sufism she seeks to contemporise the mystical to forge a relationship between her new cultural environment and her past. She believes, “The keyword for the increased visibility of Pakistani artists on the international art scene is innovation — a combination of the traditional aesthetics and new media arts.”

Adding to the general consensus on a “strong work ethic” artist, educator and curator Abdullah M.I. Syed who lives and works between Sydney and Karachi points out, “Prolific and effective articulation of ideas (verbal and written), high calibre of art production, a willingness to adapt and learn without compromising artistic integrity and an understanding of basic art laws (contracts, grant applications) also count.”

On the issue of managing cultural differences while gaining international visibility Abid states, “It is important for the artist to educate the audience about ideas and issues which are not common.”

Narrating his personal experience Syed recounts, “Between 1999 and 2003, before I moved back to Pakistan, I launched my career in the US and had initial success both critically (won awards) and commercially, however, I was ascribed labels such as ‘outsider’ and ‘exotic’ which was a bit troubling given my training and art consciousness was ‘Western’ (read American).

“Deciding to familiarise myself with colonial, post-colonial and Orientalist discourses I managed to come to terms with my diasporic, ‘exotic’ identity and was able to use it to articulate ideas accordingly, without compromising my beliefs or feeding stereotypes. However, when I moved back to Pakistan and tried to re-launch my career as an installation and performance artist, I faced the same ‘outsider’ reaction, but with labels such as ‘Westernised’, ‘theory-based art’ and ‘non-commercial’. Although the community support was there, I had to let go my previous commercial success and readjust my methods for exposure. I was back to square one.”

Declaring that “I am happy with how the galleries in karachi such as VM Art, Chawkandi and later Canvas have supported my career in Pakistan” Syed divulges, “I am going through the same struggle and process of getting recognition in Australia that I went through in Pakistan and the US. As an artist in diaspora, my present focus is on experimental site-specific projects and working on museum and council-based projects as artist, curator and facilitator.”

Organising collaborative projects involving Pakistani and Australian artists has also been intensely rewarding. I was clear at the outset that I am not interested in a quick rise to fame or making ‘fast’ money. I see my art career as a long walk and I have no intention to run to the finish line, he adds.

Published in Dawn, Sunday Magazine, August 17th, 2014