Man of Ages (2022) Ζωγραφική από Tashfeen Rizwan

I was not born into privilege, but I was born with a gift: the ability to see the world not only as it is, but as it could be. My earliest memories are steeped in color and form, shaped by the presence of my father—an artist whose canvases held more truth than words ever could. Our home was a living gallery, where creativity was not a pursuit but a way of being.
I grew up a quiet observer in a noisy world, introverted by nature but deeply tuned to the subtle rhythms of emotion and gesture. As a teenager, I discovered a piece of wood and began to carve intuitively. Each cut felt like a conversation with something ancient within me. That first sculpture revealed to me that art was not an act—it was a necessity.
My path as a professional began when my father founded Mother Gallery in Larkana. I spent sixteen years immersed in its creative atmosphere, not merely as a curator, but as a learner, a listener, and a translator of visual thought.

The gallery became my university—a place where I engaged with artists, scholars, and thinkers who challenged and expanded my perceptions. I curated exhibitions that reflected humanity’s many layers, organized forums that gave voice to complex questions, and built a space where intellect met emotion.
Then the world paused. The pandemic turned down the volume of everyday life, and in that stillness, I returned to myself. I picked up a brush, and what began in solitude grew into a voice. My work today exists at the intersection of psychological expressionism and abstract figuration. I work primarily in intense portraiture—my figures often emerge from geometric tension, layered colors, and instinctive lines that reveal the emotional landscapes within us all.
Stylistically, my work resonates with the emotional urgency of post-war expressionists, yet my language is my own. I am drawn to human suffering, inner silence, resilience, and social consciousness. I often say: “My canvas does not just reflect the world—it questions it.” Each figure I paint appears to speak back, not in submission, but in resistance.
Cultural identity and memory form another essential layer of my practice. I am deeply rooted in the ancient heritage of the Indus Valley Civilization. Mohenjo-Daro, with its silent stones and profound mysteries, influences my palette and symbolism. I strive to bring modern representations of this heritage into contemporary global dialogues.
Today, my work has been exhibited internationally, selected for tech collaborations, featured on book covers, and celebrated in both traditional and digital spaces. Yet these milestones are only part of the journey. My true commitment is to creating art that bridges silence and speech, the personal and the political, the seen and the felt.
Art is not what I do. It is who I am. Without it, I would wither.With it, I endure, I remember, I become.
Because without art, we are merely shadows.And with it—we are infinite.

• Ιθαγένεια: ΠΑΚΙΣΤΆΝ
• Ημερομηνία γεννήσεως : 1977
• καλλιτεχνική τομείς: Έργα επαγγελματιών καλλιτεχνών,
• Ομάδες: Επαγγελματίας Καλλιτέχνης Πακιστανοί Σύγχρονοι Καλλιτέχνες