For most people drastic events in life instigate drastic changes in the way they see the world. Inmy case, the moment I came back to my senses after my father's suicide, I wanted to provoke adrastic change, in the way the world, sees me.
My beloved father suffered persecution in Afghanistan on suspicion of being a Soviet Supporterand therefore led a large part of his final days under severe depression. During his life he had sowed the seeds of his revolutionary ideals within us. As a miniature artistI have decided to weave these ideals, within my gad-rungs and nim-rungs, into the intricately woven triangular patterns of the kaptomar, a symbol for protection, and the insignia of the Hazara community.
This series of work to me is like a tug of war between my experiences with my father, and my father'sfeelings for the world around him. We represent two generations of the Hazara community facing two generations of war. My father faced persecution during the Soviet War inAfghanistan in the eighties, while I am living in a place where my community is the target of unprecedented sectarian and ethnic violence.
Embedded within images nostalgic of my father's life and intricate patterns reminiscent of our tribal values, is the clash, between a tribe that has been in conflict for many years, and me asone of its members placing myself in the democratic republic of Pakistan. This very clash helpsme create juxtapositions of natural colours, geometric motifs and glimpses from my memory,delayering each other through veils of transparency. Sometimes by showing themselves off inbold statements and at other times by playing hide and seek behind each other.
But the ultimate paradox that I want to immortalize within my work of art is that where myfather was a casualty of war, I choose to stand as a symbol of hope and inspiration.