Painting Beyond The Lines: Muhammad Zeeshan
In the second part of our series spotlighting Pakistani artists, the Karachi-based multidisciplinary artist discusses the ways in which his identity and his political and social milieu define his work
Muhammad Zeeshan
The artistic era of 18th- and 19th-century Paris is a time he would have loved to live in if he were allowed to fulfil his fantasy but it’s his identity as a South Asian that defines Muhammad Zeeshan and his art. Hailing from the Mirpur Khas district but now based in Karachi, the 38-year-old holds a degree in miniature painting from the National College of Arts, Lahore. His is a multidisciplinary practice that involves video, collage, drawing and installation art — his preferred medium these days being laser scoring and sandpaper. He believes that art cannot and should not have any boundaries. And his works are usually charged by his political and social milieu.
Creative Beginnings
“I wanted to convert my passion into a profession so I trained to become an artist. As a young boy, I used to indulge in games like dog fighting, cock fighting and pigeon keeping (I owned more than a hundred pigeons at one time). These activities taught me patience. I find myself referring to those times constantly while creating work and looking at art.”
Artistic Inspirations
“I enjoy the works of directors creating parallel cinema. It could be in any language and in any genre. For me, inspiration could come from anywhere and at any time. You can’t force it; you can’t plan it. It is as random as the next breath.”
When Not At Work
“I watch lots of Bollywood movies. I think movies are a complete package where literature, writing, visuals, lights, sound, theatre, performing arts come together to create an interesting dialogue or set of events. Watching movies helps me unwind, enjoy and absorb things on a subconscious level.”
Portraying Pakistan
“My art is intrinsic and comes from an intuitive level, where at times I surprise myself with the kind of images I choose to create and therefore I don’t believe or see my practice as separate from my identity. It represents me and all that is connected with me. My heritage, its history and my culture define me. Which history am I allowing myself to be informed from? The land I belong to dates back to 7,000 BC, and I proudly own and accept all its stories, and its past, present and future.”
A Story Of Shared Histories
“The Subcontinent is a beautiful amalgam of many cultures. Due to trade, economics and patronage, we find substantial influences of various cultures that the erstwhile kings or emperors were generously introducing and accepting. My root practice of miniature painting was privileged enough to have had all these influences and developed styles which inform us beautifully as artists today.”
Facing Backlash
“South Asians are not the only ones facing problems. Censorship, backlash, class factors — we find these around the world, in many countries. The First World countries have a higher number of these, I assure you. As for how I tackle them? I think they tickle me!”
Greatest Achievement
“I experienced the boom of the art world and gained a lot from it and also experienced the toughest economic crunch of this market as well. I believe I can call myself a veteran.”
Pakistani Art In A Global Sphere
“Good art shall always nourish and nurture wherever it is perceived in the world. Pakistani art has been doing well for a long time now on many levels. We have artists of the diaspora creating a wonderful dialogue. We have old masters as well as young talent aspiring to travel the world to gain experience and be heard. This is a pronounced expansion.”
Love Thy Neighbour
“Pakistan’s Sufi saints’ history and heritage is a wonder to experience. I would heavily recommend discovering those sites, which are located all around the country. Coming to India is always desirable for me. It is eternally enriching and I consider it my second home. I have travelled to many cities in India over the past two decades. I still have so much to see.”
On The Wall At Home
“My walls wear a series of nudes, which I have been patiently collecting for the past 10 years. I’d love to own Salvator Mundi by Leonardo da Vinci because it is the most expensive painting ever auctioned.”
Future Forward
“I have a solo booth at the Contemporary Istanbul Art Fair in September, a solo show in Berlin in 2019 and a curatorial venture in the pipeline that I’m looking forward to.”
Read Part 1 on Salman Toor here.
Read Part 3 on Saqiba Suleman here.
Read Part 4 on Komail Aijazuddin here.