In a yr outlined by market calibration—particularly on the ultra-contemporary entrance—only a few younger artists have really emerged. One of many uncommon exceptions is 28-year-old Pakistani and New York-based artist Aiza Ahmed, who in 2025 achieved speedy, sustained recognition throughout two key areas: the artwork world’s heart in New York and the quickly increasing cultural ecosystem of the Gulf. Her enthusiastically acquired debut solo at Sargent’s Daughters closed solely weeks in the past, but she is already making ready for the inaugural version of Artwork Basel’s Qatar in February, the place she can be one of many youngest artists featured within the truthful’s curated exhibition format led by artist Wael Shawky. Though she accomplished a year-long residency at Silver Artwork Initiatives, Ahmed has quickly traded her downtown Manhattan studio views for the MENA area’s most prestigious residency on the Fireplace Station in Doha, additionally directed by Shawky. She spoke with Observer from that studio, the place she is engaged on the foremost set up she is making ready for her subsequent milestone second in Doha.
This continuous motion between nations and cultures just isn’t new to Ahmed, whose life has been formed by fixed geographical crossings. Her grandparents have been initially from Calcutta however left India for Pakistan after the 1947 Partition, starting a migratory trajectory that has threaded via the household ever since. Born in 1997 in Lahore, she spent a quick interval in Karachi earlier than relocating to London along with her household at a younger age. Ahmed spent her adolescence in Dubai earlier than shifting to the U.S. for her undergraduate research at Cornell, adopted by an MFA in portray at RISD. Now a decade into residing within the States, she acknowledges that her life—and by extension, her artwork—has been outlined by inhabiting the in-between, switching between cultural contexts ruled by completely different social codes. That instability has sharpened her acute spirit of remark of the humanity round her, from which all her work originates.
Upon getting into her solo at Sargent’s Daughters, what stands out just isn’t solely the maturity of her visible lexicon but additionally the readability of her world-building intuition. Ahmed strikes fluidly and inventively throughout mediums, shaping total narrative areas from the second she traces a face or attracts the psychological contour of a determine, then expands that gesture outward into the room as a doubtlessly ever-evolving story.
“I’ve been drawing and dealing with my arms for so long as I can keep in mind,” Ahmed tells Observer. Her dad and mom say she was all the time making issues or engaged in some form of craft. Nevertheless it was round yr seven or eight—early in highschool—that her curiosity started to take actual form. “I had a favourite artwork instructor who I credit score a lot—she supported me from the start and would go away little notes in my journals, encouraging me. They have been simply drawings I used to do, however she actually noticed one thing in them,” she remembers. “I additionally not too long ago discovered these caricatures I made once I was about ten, these political cartoons, and them now, I can see the threads. The seeds have been already there—this intuition for humor, for drawing the road.”
Ahmed’s fashion, the truth is, isn’t straightforwardly figurative. Her figures stay suspended in an unfinished state—between dimensions, between figuration and one thing surreal and even summary—rooted extra within the emotional and psychological house of her characters than within the synthesized quantity of their our bodies. On the similar time, her sharp, assured line work grounds the compositions in a convention that evokes comics, political satire and caricature. As seen within the work of French satirical artist Honoré Daumier or the German George Grosz, Ahmed’s caricatural fashion exaggerates posture, expression and conduct with a couple of fast, incisive strokes, distilling persona or social sort into its most telling gestures. She readily acknowledges her connection to this lineage. “I’m actually drawn to the face. I really feel like I’m a eager observer of individuals, particularly having lived between so many worlds and having to assimilate—from Pakistan to London to Dubai to the U.S.” she displays. Throughout all these strikes, she tailored in an ongoing strategy of code-switching—first observing, then imitating, studying to slot in with out shedding sight of who she was or the place she got here from.
Drawing provides Ahmed an area for unfiltered, intuitive expression—a method of seeing that precedes the expectations of society or tradition. “Once I draw, it’s fast and uncooked,” she explains. “It’s the primary mark that comes out. I don’t erase. It’s no matter is coming via me in a stream-of-consciousness method.”
Notably, many of the characters Ahmed brings to the stage are males—typically exaggerated of their grotesque appearances and postures, whimsically distorted of their grinning or perverse expressions, or revealed in moments of fragile vulnerability beneath a masculine efficiency of energy.
The artist admits she solely not too long ago realized that, over time, she has persistently drawn or painted male figures. “I didn’t discover it at first, however not too long ago I used to be like, okay, in my studio it’s simply all these males of various varieties and me,” she displays. Earlier in her graduate research at RISD, she had been pondering so much about uncles, she provides. “My complete follow is me making an attempt to hint the place I come from, the ancestry I didn’t know, the histories and displacement of my very own nation that I wasn’t taught till actually late in my upbringing.” In more moderen sequence, nevertheless, one thing has shifted—or maybe she has merely turn into extra conscious of the deeper causes behind her recurring male topics.
Rising up, and even after she left Pakistan, she returned each summer time to go to grandparents, aunts and cousins. Throughout these visits, she turned attuned to what she calls the grammar of males. “In public areas, all you see are males. Ladies are normally inside, or coated,” she remembers, noting how her visible subject was full of authority, corruption and efficiency. Even after shifting to New York, she discovered the dynamic not so completely different—solely extra oblique. “I can’t stroll from level A to level B with out feeling the male gaze. It’s uncomfortable. It’s charged. At first, I assumed it was simply Pakistan, however it’s all over the place I’m going.”
Portraying males, then, turns into a form of position reversal. “As a younger lady, I’m males. In artwork historical past, it was normally the other: males girls, and nobody questioned it,” she displays. Nonetheless, she admits she typically feels sorry for her topics. “The best way I draw these border guards, they give the impression of being clunky, quick, stout, nearly fragile. After which I’m like, wait, why do I really feel sorry for them? It’s all very layered,” she acknowledges.
Ahmed enacts, via her artwork, a pointy human and cultural analysis—exposing the hypocrisies and paradoxes embedded in socially coded, gendered behaviors. Together with her cartoonish figures, she deciphers patterns of authority and efficiency. Aiza Ahmed observes society as a system formed by energy dynamics—and claims artwork as an area to think about completely different ones.
When requested if she remembers being significantly drawn to political satire in newspapers or to the language of comics extra broadly, she says she in all probability was not something particular. “I used to learn the newspaper as a result of my father would inform me to—simply to know what was taking place on the planet,” she says, recalling how she typically discovered it troublesome and would flip straight to the illustrated sections. “It’s humorous—I by no means linked that till now. Possibly that planted one thing,” she acknowledges, including that she beloved Roald Dahl and Quentin Blake and grew up watching quite a lot of Disney. “The Disney aesthetic actually formed me,” she displays, describing how she not too long ago found a Disney encyclopedia sequence in an vintage store in Doha. “One quantity was referred to as Nice Leaders. It listed all these males and possibly two girls—like Queen Victoria. It was fascinating, and the illustrations have been in contrast to something I’d seen,” she says. The discover feels serendipitous, nearly luminous, given the path her work is now taking.
The truth that Ahmed consistently oscillates between caustic social indictment and a playfully theatrical or carnivalesque register pushes the grotesque into the realm of the fantastical and hallucinatory. As James Ensor as soon as did, Ahmed’s line exaggerates expression to the purpose of derangement, utilizing humor, absurdity and the grotesque to floor ethical and psychological undercurrents, in addition to the paradoxical fragility on the coronary heart of immediately’s disaster of masculinity and the masculine-led world these performances of energy search to uphold. Making use of the inverse of a extra mild, compassionate female playfulness, Ahmed’s work unsettles mounted concepts of nationhood, masculinity and belonging.
In spite of everything, it’s playfulness and humor that always enable satire to resonate. They soften the critique simply sufficient for the viewer to enter, whereas sharpening the underlying level. The very best satire permits you to chortle and wince on the similar time.
That is why Aiza Ahmed’s work typically takes on a theatrical presence, as she levels human drama inside the house, suspended in dreamlike atmospheres. This was significantly evident in her solo debut with Sargent’s Daughters. Drawing its title, “The Music Room,” from Jalsaghar (The Music Room), Satyajit Ray’s mesmerizing 1958 movie, Ahmed translated the film into spatial phrases via a multimedia set up of shifting characters rendered in monumental work and picket cut-out figures. An authentic composition by historian, composer and guitarist Ria Modak additional formed the mise-en-scène, reworking the gallery into each a soundscape and a theater the place these narratives unfolded with unsettling resonance within the current.
Evoking the movie’s psychological portrait of India’s zamindar class, propped up below British colonial rule earlier than dealing with dissolution amid land reforms and shifting politics within the mid-Twentieth century, the music room right here equally turns into a stage for hole rituals of nostalgia and masculine show. Ahmed’s figures seem as ghostly presences, drawn with uncooked, important traces that stability humor and pallor, exposing the paradoxes and gradual decay of any fable of masculinity. Crucially, in one other act of inversion, she imagines a music room authored by girls, turning their gaze again onto patriarchal and colonial energy.
An identical impulse formed her Spring Break Artwork Present presentation final Might, the place she first drew wider consideration with a sales space curated by Indira A. Abiskaroon, a curatorial assistant on the Brooklyn Museum. There, Ahmed reimagined the Wagah-Attari border ceremony, a each day ritual established in 1959 that pulls 1000’s to observe troopers from India and Pakistan march, gesture and parade as mirrored adversaries in a choreography that has lengthy fascinated her for its oscillation between fury and restraint, rivalry and camaraderie.
In her set up, she amplified the spectacle to reveal its built-in theatricality: bugle calls and Kishore Kumar’s brilliant vocals led guests via sizzling pink drapes and onto a crimson carpet flanked by picket troopers, towards an imagined stage the place painted and sculpted figures carried out their very own exaggerated model of the ritual. Inside this draped, cardboard mise-en-scène, the troopers’ postures, uniforms and expressions turned social masks—revealing not solely the codes via which authority and masculinity are enacted, but additionally the fragility these performances try to hide. Her presentation at Artwork Basel Qatar will proceed this narrative; she is presently engaged on new work, a suspended muslin work and a sequence of picket cut-out troopers for the set up.
Ahmed’s visible and narrative method just isn’t removed from the narrative methods utilized in commedia dell’arte, which established the thought of mounted “characters” representing social varieties, every outlined by a masks and exaggerated behavioral code—or pantomime, which strips these roles even additional, lowering gesture to language and expression to narrative. Ahmed’s suspended storylines function in an identical register. Very similar to in Pirandello’s work, she makes use of playful role-playing and seemingly naive humor to generate fast empathy whereas concurrently revealing the delicate, absurd theater of human existence and the drama of identification.
So far, Ahmed acknowledges, two most important sources have formed the origins of her work. One is her private remark of societal rituals—weddings, funerals and ceremonies that exist in a liminal house between the general public and the non-public, the place she has been each observer and participant. The opposite is the India-Pakistan border, which she has studied in depth. Nonetheless, she notes, the overarching theme that continues to emerge is the spectrum of masculinity and the try to know its psyche. What’s going on of their heads—and the way has that interiority hardened right into a social rule that has lengthy formed a shared sense of actuality?
When requested if her work is political, Ahmed says that each motion could be a political act. “Even for those who don’t voice it, you’re making a press release. Being a brown lady is already a political act. There are infinite layers you’ll be able to add to that,” she argues. And infinite, too, are the scale during which Ahmed’s highly effective creativeness can evolve, as she continues to translate her each empathic and important observations of the world round her.
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