Shanzay Subzwari | Portfolio of works 2013-2016
Video and Sound Installations
Shall We Return? Video Art Installation, 2016
A collaborative video art installation between myself and an architect based on Ghalib's verses, aimed to evoke reflection over death and related aspects. The video was placed in an enclosed space directly above the viewers' heads, so they would get a feel of being buried underground. It ran in a loop with audio running continuously. After watching the video, the viewers could only exit the maze-like room after walking over the 'crunch' of dead leaves and chancing upon their reflections in a strategically-placed mirror
Untitled, Sound and Video installation, 2014
This was a sound and video projection- a site-specific project- at Jamshed Memorial School, Karachi. Through sound manipulation and wordplay (projected on the main auditorium’s curtains), I touched upon the irony attached with the motto of the Theosophical Society (a dormant secret society housed within the school premises), which reads ‘There is no Religion higher than Truth, there is no Power greater than Love’.
Gouache and Mixed Media Works
With a teeming interest in the aspect of deception and its various nuances in large-scale worldly matters or on an individual level, the term, ‘what you see is not what you get’, resonates with me. Unknown parties, whether political or economy-based, make major world-decisions, and the media often feeds us information tailored and tweaked to satisfy personal motives.
My work stems from an exploration of currency notes: pieces of paper overlooked in their daily use, yet paradoxically held dear for their purchasing power. In my pieces, the oft-seen overlapped or dual images of political figures (extracted from these notes) are tools that denote the multiplicity and layers attached to situations, where reality, or the ‘truth’ lies hidden. Weaving together symbols from currency notes, Mughal miniature paintings and popular culture, I aim to tell stories that make people reflect on the past, present and future of politics, history, society and the human condition.
Where they live, gouache on paper, 22x30 inches, 2016
A response to a piece of news I came across on social media which stated that the Republican Party, in a recent poll, voted that 'Agrabah' should be bombed. Little did they know they were referring to a fictional city from Aladdin. To me, this revealed so much about anti-Muslim sentiment and ignorance. And so, I placed together Agrabah's palace, the Masjid-e-Nabwi and the Faisal Mosque (from the Saudi Riyal and Pakistani Rupee respectively) as a comment on how the West often perceives Muslim nations as 'all the same'.
We’ll always be friends forever, won’t we? (diptych) mixed media on digital print, 5.5x3.2 inches each, 2016
When Pakistan gained Independence from India in 1947, the newly-formed nation appropriated Indian currency with the simple addition of the words 'Government of Pakistan' on it. Over images of these notes I imposed the main characters from the Disney hit 'The Fox and the Hound' as symbols of the complicated post-colonial relationship between the two nations; best friends as children, but biologically programmed to become mortal enemies as adults, paired with the strange nostalgia of a happy, united past.
It’s always tea time, mixed media on paper, 58x39 inches, 2016
This piece illustrates, in a playful way, the interwoven and complex relationships between countries, with references ranging from a few hundred years ago to the recent past. Replete with symbols extracted from currency notes and Disney’s animated films, it aims to make the viewer reflect upon historical events that shape the world today.
Under the Queen’s encompassing watch lies proof of England's past colonial powers, as well as those of her neighbouring nations: one can see hardworking black people, with imagery extracted from the Central African Republic’s ‘cinq mille’ franc. This reminds us of the time when large parts of Africa were colonised by the French (as were major parts of the world by the British, French, Portuguese and Dutch) and the simultaneous brutal slave trade.
Below, with outstretched arms, a torch-bearing woman (symbol of enlightenment and hope) from the Russian 500 Rouble of 1919 can be seen holding up a pair of wings (emblems of speed, protection and spirituality). Below, cherubs complete this ‘sacred’ arrangement. However, the chameleon on the cherub’s basket signifies deception- things are not as they seem; after all, the Russia of 1919 was far from enlightened, and political discontent was at its peak with civil war.
Underneath, gracefully stands a woman (imagery extracted from the Syrian pound) in a light-hearted pose. However, she is oblivious to the cloud emerging from the teapot below that depicts an unknown man (borrowed from Mughal miniature paintings, which my practice is derived from) aiming to shoot her, depicting the threat of danger not uncommon to the thousands of Syrian refugees suffering worldwide today.
The teapot (taken from the wonderfully strange world of Alice in Wonderland) seems to support the weight of the entire scenario above. Out peeks Benjamin Franklin. Judging by his pose, one wonders why the former American president presents such a suspicious picture. Moreover, what does the blue rose on his ear signify? Could it be that he is the backbone behind the grand scheme of things, or merely a passive observer of this massive 'tea party' where 'it's always tea-time', and thus no scope for change or betterment? (an allusion to Alice in Wonderlend where time seems to have frozen still at the Mad Hatter's tea party)
Above, while Pocahontas’ necklace reminds one of the colonial history of America and of a culture ravaged, (also applicable to the colonial past of India that Pakistanis are a product of), Aladdin’s magic carpet represents a ‘whole new world’ that leaders promise their people; a wish that is seldom fulfilled.
Rizq-e-halal ain ibadat hai, gouache on paper, 40x20 inches, 2016
An honest income is akin to worship’, states the title of this piece. But what could be more ironic than applying this statement to influential people all over the world, from money laundering politicians to corrupt government officials? Promulgating deceptive ideals, this piece depicts, against a mythical backdrop of imagery borrowed from the Belgian banknote of 1929 (featuring Ceres, Roman goddess of fertility and motherly relationships, the Belgian Lion- symbol of unity and strength, and Neptune Roman god of freshwater and the sea), Queen Elizabeth and Jinnah- two representations of power and influence from different parts of the world, also reflecting the qualities the mythical figures represent. Both political figures, in their intermeshed past history of colonisation and imperialism, have inadvertently changed the lives and outlooks of millions of people; with the largest mass-migration in the world taking place as a result. With overlapped faces, the Queen and Jinnah can be seen in a position of authority. But these questions remain: whom do these figures represent? Who actually holds power? Who runs the show? Or are they both being puppeteered by an invisible upper hand, thus engaging in deception at a mass scale?
A prize for rotten judgement, gouache and pencil on digital print, 18x8 inches
How rotten is our judgement? Which 'God' are we really worshipping and trusting? Do we venerate an entity/institution/govenment/nation that is deceiving and controlling us, or are we bowing down to our own egos?
An innocent temptation, gouache on digital print, 2016
Bringing in a local, Pakistani context to this work, this piece subtly hints at the 'temptation' Swiss Banks hold for high-profile Pakistani politicians and wealthy people to stash their black money into. The evil witch from Snow White with the poison apple is a symbol also of the various temptations the common man faces in his life which, if alluded to, can cause his own downfall.
What You See Is(V), gouache on print, 2x4.5 ft, 2015
In my pieces, the oft-seen overlapped or dual images of political figures (extracted from currency notes) are tools that denote the multiplicity and layers attached to situations, where reality, or the ‘truth’ lies hidden. Who is really making the decisions, and who is being pupetteered?
The First Sighting, gouache on paper, 22x30 inches, 2015
As an allusion to the way the moon is 'sighted' during the month of Ramadan that signals the month of fasting for Muslims, this piece comments on an outsider's perception of Muslim nations, albeit in an open-ended way.
Alls' Fair, 2.5x4.5 ft, gouache and digital print on paper, 2013
A cacophony of images that comment on everything from the Indian Subcontinent's post-colonial situation to urbanisation to the world's political climate post 9-11.
An Exploration of Consumer-Culture
My interest in the aspect of rampant consumerism has led me to the study of advertisements, brands and logos, which take up various forms and subconsciously influence the ideals we create for ourselves. I believe advertisements are an art form that link cinema with material culture and help make products ‘larger than life’ and exciting.
Kaun Banega Star? 22x30 inches, acyrlic on canvas, 2016
The Subcontinental (India-Pakistan) cross-border appropriation of celebrities to endorse certain products also speaks of the much-larger debate of post-colonialism, a shared culture, and the undeniable influence over each other’s media regardless of the political weather.
Youn Chale Ke Balley Balley, Oil on Canvas, 2x8 ft, 2014
This piece is from my BFA thesis in 2014 and was based on advertisements and how they manipulate us. The loose painting style echoes their fast-paced and ever-changing nature.
This project aimed to alter names of knows brands to say something deeper about the fickle nature of products as well as comment on society. After the logos were manipulated digitally, they were painted in oil on canvas.
Parda Daldo, 16x20 inches, oil on canvas, 2013
‘Parda Daldo’ is wordplay on brands Prada and Dalda. ‘Parda’ means to veil something in Urdu language. Hence, it is a comment on the ills of society that are covered up by people
Damn News, Oil on canvas, 5x5 ft, 2013
‘Damn News’, wordplay on Pakistani news channel ‘Dawn News’, justifies the sorry state
of affairs depicted on television channels in Pakistan
