Often They Come and Whisper The Unheard
Graphite and watercolor on wasli
21×26 inches
2014
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Louise Bourgeois, a French-American artist of the modern and contemporary art world, defines art as a medium of truth, a language of therapy. The process of articulating the undisclosed fears, confronting the unknown, and revealing the true identity that is consciously yet unconsciously deciphered through the symbiosis of external and internal conflicts faced by an individual, is the realization of a true existence.
Being a feminist and working towards the conscious understanding of women’s entities is the reason Hamida strives to be an artist. She looks through the binoculars of self-realization and aims to instigate her audience to reflect upon their true selves when confronted with the artwork. In general, Khatri’s work primarily defines values pertaining to feminism and the discourse around womanhood. Iconizing women as laborers for seeking pleasure, misusage and deliberately extracting their energies to gain access and control is the reason she stands to justify her identity as a feminist.
Her concerns regard what remains of a woman as an individual within the patriarchal milieu. What are the merits of her existence? What defines her? These questions are not only relevant to herself as a woman, but also to the people she interacts with. Her art practice revolves around her interpretations of these concerns translated as figurative drawings, puppetry sculptures, and illustrations. In her eyes, they tend to define not only psychological but also the physiological construct of a woman’s entity.
Living and working in Karachi, Pakistan, Hamida Khatri holds a Bachelor and Master in Business Administration in Marketing from the Institute of Business Management and Bachelor in Fine Arts with an Overall Distinction from the Indus Valley School of Art & Architecture. Currently doing her Diploma in Humanistic Counseling, she has expanded her art exhibiting experiences not only within Pakistan but also in India and abroad.
Photo Credits | Jamal Ashiqain