Unlocking the intricacies of belonging

art

Using artistic means to create empathy and understanding between societies and cultures Qinza Najm, a NYC based Pakistani-American artist, has been exhibiting her artwork since over a decade now. I have had the privilege of knowing Qinza for an extensive period, during which she has consistently demonstrated qualities of determination, resilience, and an unwavering pursuit of excellence. Transitioning from a psychologist to an acclaimed artist, Qinza has showcased her mettle through her unyielding commitment. Born and raised in Lahore, she has been academically trained from Bath University, England and at the Art Students League of New York under the mentorship of renowned artist Larry Poons. Her artistic process reflects a complexity akin to that of an artist’s mind. Furthermore, her profound understanding of psychology enables her to empathetically grasp the thoughts of others and seamlessly integrate them into her own artistic expression.

Having exhibited internationally, from Dubai to New York and Pakistan, Qinza has always held the essence of art close to her heart. Unlike many contemporary artists whose work often remains enigmatic to viewers, Qinza ensures that her messages are easily decipherable. She adeptly delivers clear and relatable meanings that resonate with audiences on multiple levels.

In her recent exhibition displayed at ArtSoch Contemporary, titled ‘Mere Dil Mere Musafir’, Qinza curated a politically charged and deeply meaningful show. The exhibition comprised over 20 installations and artworks, each aimed at elucidating the true essence of belonging.

Qinza abundantly incorporates metal into her work, integrating other mediums with it or painting over its surface. As a South Asian artist residing in New York, she carries a longing for her motherland, Pakistan, which finds expression in her art. Simultaneously, she unveils the profound sense of helplessness experienced when living far from one’s homeland - political turmoil, economic crises, and inflation leading to emotional upheavals.

The use of Peyti - a allegory for a container of emotions, memories and belongings; it carries strong connotations with dowry and one’s social/economic status traditionally, according to the artist - symbolises Qinza’s personal experience of constant travelling due to her father’s position as a Naval Officer. Frequent packing and unpacking every two years left her grappling with questions of true belonging. Does it lie in the country of her birth? Or in the nation where she studied and worked? Or perhaps in the place she currently calls home? This complex and perplexing conundrum finds its most poignant expression through her art.

Notably, Qinza’s works feature faceless women, positioned either in proximity or at a distance from traditional accessories. While these women exude serenity and piety, they are also beset by a multitude of queries. Qinza deftly leaves the messages embedded within her artwork open to interpretation, encouraging viewers to decipher their meaning upon closer examination.

Two particular works, ‘Raaz e Ulfat’ and ‘The Little Bee I and II’, immediately seize one’s attention. These faceless women, seated atop a truck amidst symbolic elements of belonging, emanate an aura of tranquillity and collectedness.

It becomes evident that these women, much like any others, encompass a range of identities - wearing scarves or off-shoulder attire, upholding cultural norms or challenging conventions. Their voices and experiences are as diverse and varied as any other. Elements such as a prayer mat, a photographic reel, and a water pitcher commonly found in desi households evoke a sense of familiarity.

Qinza’s artwork encompasses splashes of water, brushstrokes forming vivid figures and images, and the presence of metal locks adorning each piece. Such a rich and imaginative artistic vision is a rarity, captivating viewers with its allure. It demands an understanding of emotions, not only her own but also those experienced by various diasporas.

Within the exhibition space, a corner houses an Urdu poetry book titled ‘Nuskha Haye Wafa’, adorned with attached headphones and small packets of ‘Shahi Supari’. This interactive installation allows visitors to wear headphones and listen to the narratives of immigrants. Another interactive installation presents a recording of Rebecca, a member of New York’s diaspora, sharing her own story.

A large wooden boat positioned at the centre of the gallery captures attention, filled with an assortment of small metal trunks, leather attaichi, and brass and steel household items. Large cloth sacks filled with various objects, a lantern, and other belongings create a captivating tableau. It comes as no surprise, given Qinza’s inclination to transcend boundaries and explore the vastness of artistic expression. Her art extends to encompass objects as large as a boat, mirroring the expansiveness of her creative mind-set. The boat, laden with the possessions of immigrants, acts as the exhibition’s focal point - a convergence of fragmented pieces that come together to provide viewers with answers to their lingering questions.

From a distance, Qinza’s artworks exude serenity, yet closer inspection reveals the underlying chaos that perplexes the mind. Each element within the artwork holds profound significance, demanding ample contemplation. Amidst the intricacies of her depictions, Qinza herself takes respite from the chaos, as evidenced by the repetitive Urdu scribbles - a meditative practice that hints at introspection.

Throughout her artistic trajectory, Qinza Najm weaves fragments of her own story, experiences, and personal encounters. The intricate mapping of her complex thoughts gives rise to a vast and multifaceted narrative, inviting extensive debate and contemplation. In ‘Mere Dil Mere Musafir’, Qinza’s art unfolds like a book. While its cover may appear subtle and enticing, the inner chapters offer profound meanings that entice viewers to delve deeper, revisiting each chapter time and again.