“Soul Kiss” is on view at Kohn Gallery November 13 through December 15. “The nature of the art world,” observes the Manhattan-based Pakistani American artist Shahzia Sikander, “is that if you don’t show up every two years in New York City, it’s like, ‘Where did you go?’” Sikander, 51, a MacArthur fellow and among Pakistan’s best-known contemporary artists, has spent the past several years installing ambitious public art projects and screening animated films based on her intricate neo-miniature paintings. But despite living on the Upper East Side with her 10-year-old son, she hasn’t exhibited at a New York gallery in nearly a decade, a testament to her laborious painting process—“there never would be enough work to sell,” she maintains—and a disinterest in pandering to her market.
Another factor distinguishing her work from the traditional tapestry is its shape. Her work is not rectangular, but amorphous, with loose threads cascading like dripping candle wax. It has the effect of making the worlds that she creates—which commemorate her lived experiences as well as her fantasies—seem boundless. For that reason, you could call her a dream weaver, though she might correct you on a technicality.
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