Sarah Naqvi is one of ArtConnect’s Artists to Watch '22

Sarah Naqvi (they/them), is an Indian artist, based in Mumbai/ Amsterdam. Their work engages in narratives themed around religious and societal polarisation, centring art as their tool for activism.

The materiality and techniques in their work are at play to create familiarity with the viewer, with satire, whimsical props, and softness you are made to believe something joyous awaits. Once these thematics are established and make one comfortable, the visuals are then layered with confronting truths scripted based on prominent sociopolitical developments in their environment.

ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.

How did you get started as an artist?

I chose to do my Bachelors in Textiles at NID, Ahmedabad in India. This was mostly because that felt like the most accessible way to pursue a creative profession, one that provided stability and security according to my family. I however, always wanted to be an artist. I think I now realise that this would come to me in literally any form of art, I felt drawn to music, materials and anything that gave me space to explore beyond the traditional ways of learning a skill.

Still, textiles and politics of the body remained a recurring subject matter, instrumental in my transition into being an artist. Art requires time and introspection and thus slow work is primary to my practice, both visually and technically.

How would you describe your artistic approach?

For most part of my life, there was an absence of a very invisible but undeniably powerful presence that I confronted regularly but didn’t recognise. This was often in the way I saw and understood power and its dynamics. The way it was constructed to make one believe in their own subversion. The idea of power was restrictive and I think the need to work along these lines of redefinition and redemption that emerge in my work are from this early understanding, and are the questions that still are unanswered. The way I respond to erasure is to see if my younger self would feel seen and understood, if my mother and her mother see themselves in the images and narratives I now create, which I hope could now perhaps be a path for another young child.

And how about what inspires you?

As an artist who is part of a generation that may not see a secular future in my country, the role that art plays in shaping society stands more relevant than ever, fighting polarisation and propaganda through generous art.

I think the biggest challenge as an artist and activist is sometimes having to bracket myself or identify myself as either an activist whose medium is art or the latter, which I do not fully understand because in my understanding of art, art exists to fulfil and reimagine better futures and not merely exist in the one it is in. It is only through the realisation of collective care, fighting for the same cause that I feel re energised to create. The thing that inspires me most to create is untethered resilience of those who fought before me, for me.

What are the biggest challenges you’ve faced as an artist?

Institutional racism, complicity, tokenism and hegemony in art spaces, while also having to witness fascist developments in my home country, India.

Describe a typical day in the studio/wherever you make your work.

I think each day varies to the day itself, somedays im clouded with fear, on others I wake up with the rigour to fight and create from the same emotions. Typically, I would start with my coffee and read, sketch till I have a plan for a work. The preparation for the work is almost secondary and it keeps happening throughout the different stages, this also pushes me to move and distance myself to reimagine the piece. I often spend many months on a larger project, which allows for a lot of room to navigate the narratives I explore in them.

Is there a medium, a process, or a technique that you haven't used in your work yet but would like to try out?

I am very keen on exploring drag as a medium further than I already have, it makes dissent so desirable, and I believe a lot can be conveyed through its satirical abilities.

What are you currently working on? Or an upcoming project you want to mention?

I am currently working on enhancing a text and drag performance called White man weeping that critiques the position of invisible powers that are primarily white cis men behind supervising boards and committees presiding over visually diverse spaces and institutions. It uses the caricature of a white man in power, weeping over his so called lost hold over the system and it’s longstanding hierarchy.

How does it feel to be selected as an ArtConnect Artist to Watch?

I am beyond thrilled to be chosen and am incredibly grateful. Thank you so much.

See more of Sarah’s work

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