Shahzia Sikander Famous Quotes
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Talking with other artists is an incredible process. You engage with the work very differently ... a nd different relationships between different works start to emerge. To tap into that energy-to tap into that moment-is great for me as an exercise.
In the end, the gesture of painting becomes almost meditative, like a ritual.
My whole purpose of taking on miniature painting was to break the tradition, to experiment with it, to find new ways of making meaning, to question the relevance of it.
I like driving. A lot. I think that's something I just enjoy the most. I can, at a moment's notice, drive across the country if, you know, I had to.
When I first arrived in Houston, I was fascinated with the elaborate styles of cowboy boots and thought they were incredibly exotic. They also seemed to be a central part of a specifically 'Texan' identity, one distinct from being 'American.'
For me, I always feel that I'm not sure what's going to happen next year or what's going to happen the year after or what's in the future. So I really kind of just focus on the project at hand and try to do the best that I can. And that, for me, is as much as I can control.
I was very, very quiet. I was always a loner, hardly spoke, and I was quite a nerd in school. So I was an outsider always.
I don't really listen to music when I work. I really have to focus on one thing at a time. I like a lot of quiet and peace when I'm working or when I'm thinking or when I'm reading.
I'm interested in taking a form, breaking it apart, and then rebuilding it. It is about transformation for me ... it is a very core notion that stabilizes my practice.
I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.
Initially I explored the tension between illustration and fine art when I first encountered miniature painting in my late teens. Championing the formal aspects of the Indo-Persian miniature-painting genre has often been at the core of my practice.
