10 Questions with Fatima Jamil

Contemporary interdisciplinary artist Fatima Jamil, known professionally as -mAO, attempts to address critical cultural issues of our times, especially in the context of women, as she believes that it is a core principle of an organized society. Whether or not this is reformed may be beyond control; however, she questions this through her imagery to project an awareness. What is required is a global discourse for women, especially in the societies where Islamic revivalism is needed to reformat as to how women are perceived. Jamil attempts to address factors that stigmatize the role of the female gender. By witnessing a burgeoning rise of progressive thinking in women, especially in the East and Islamic world, her work illustrates these growing and adapting times of multiculturalism.

Fatima sees the advantages of living in the United States; however, she also came to learn about the commonality of gender inequality issues in some of the regions faced by progressive American women. She is currently working on a body of work where her approach is rendered through her subliminal imagery, which re-directs the inquiries of social reforms for the female gender. Her imagery touches on sensitive and delicate subjects; to affirm and subvert the patriarchal system to value equal social standards.

Her recent works use imagery inspired by mythology, ancient iconography, spatiality, Islamic patterns, symbolism, spirituality/ religious beliefs, Islamic scripture, history, feminist theories, philosophical findings, and the female gender portrayal in poetry and literature.

Her current medium of choice is digital paintings with composite photography. Jamil is also concurrently working with ceramic installations and moving images/short films to show how women are viewed from her own perspective as well as through a cultural context.

She has been presented the prestigious XIII Lorenzo IL Magnifico International Award in New Media at the Florence Biennale, Italy.

www.fatimafranks.com | @fjfranks1

Pixie Dollie in Mauve Mood X © Fatima Jamil

ARTIST STATEMENT

“My art emerges from personal and collective experiences. In these works, I have worked on digital paintings created using digital software and digital brushes to render images. I also use collected images from other sources and personal photographic narratives that are shot either in my studio in LA or vast open spaces. Oftentimes I sketch an initial idea in pencil and develop it further in the forms of digitally rendered paintings, ceramics, moving images/film, and oil paintings.

My work is from a feminist approach to the unpredictability of social, political, and cultural standards set by the patriarchal societies, which can further dissolve women's rights. These visual narratives are depictions of facts and truths, which are depicted in the figure and doll heads. My aesthetical inspiration comes from Islamic arabesque patterns and various sources, including mythological and historical references, poetry, ancient artifacts, feminist theories, and social aspects of sexuality and gender issues.

My mixed media artwork is interwoven with various coded meanings which relate to how I perceive my creative narrative. The key components are often interlaced with metaphorical floral landscapes, birth and death of customs, cultures, politics, feminism, and sexual and gender inequalities. The colors, patterns, and various pictorial references I use in my works are influenced by my South Asian heritage.” - Fatima Jamil Jamil (mAO)

INTERVIEW

Could you tell us a little more about your background and how did you begin making art?

Art has always been a part of my existence. Since I was younger and for as far as I can recall, I always found myself creating something. My parents would often look for empty containers to let me build tiny sculptural pieces. Simply put, anything I could get my hands on was turned into an art form of some sort. One day, at the age of 4 or 5, I got hold of all my mother's lipsticks as crayon substitutes and drew a large sunflower mural on the wall. I never got scolded for it. But instead, my father got me tons of art supplies, and I never stopped creating. My real experience of learning about art was when I joined an art school in Karachi, Pakistan. I learnt to think about the process and critiques, and expanded tremendously as an artist.

But oddly enough, if I felt a certain level of constraints hindering my creativity in the environment, I would become uninspired and exit the classes early. I suppose I was rebelling against conventional ways of learning. It was never-the-less an amazing experience to be surrounded by other artists who shared common goals and insights.
While I was pursuing my BFA, I was always reclusive and liked to work alone and independently. However, oftentimes I would go to school to show up for critiques as I liked discussions related to art works as my skill set was quite refined, and I wanted to think about the creative process and how important it is, just as much as a finished piece.

I recall back when I started entering a few art competitions, and getting selected was somewhat validation for my work early in my career. I still remember being in my first group show after my degree show and that most of my works were sold at the show. Strangely enough, I knew I had to do something else that early in my career, as I didn't want to be stuck in a specific style. I wanted to experiment and grow, and despite everyone's excitement of an almost sold-out show, I was thinking of different ideas as there was an infinite amount of experimentation with concepts that had to be explored; and authenticity in finding my own voice.

What inspired you to pursue a career as an artist?

I never thought of art as a career when I was younger and made works as means to explore and experiment with my creativity. I suppose I realized it organically. The intent to create was purely for self-actualization, and over time, it evolved into a greater need to connect and express my vision to others. My interests mainly revolved around observing my surroundings and translating them into imaginative stories with unique projections to create narratives. Using materials and tools to create etchings, paintings, and sculptural forms/stone carving fascinated me, and I started to express myself in many ways. Right after I graduated with a BFA in painting and drawing, I was offered a teaching position where I taught art. Later a scholarship under the Faculty development program was offered to me by my school to study for an MFA in Australia and return to teach. I reluctantly declined the offer as I had already got accepted to California State University in the USA, and I chose to go to the USA instead. My studies were interrupted due to my Canadian immigration. I relocated to Canada, where I was experimenting and creating a body of work inspired by the cultural differences I experienced, and how different the values were, compared to where I was raised. It was a tranquil time of creativity, and after this brief part of my journey as an emerging artist. After relocating back to the USA, I decided to complete my Master's as I was interested in teaching art. While studying, I received various scholarships, awards, and part-time art instruction and it greatly helped pay for my tuition and art-related bills. It was during this time I gathered and documented resourceful materials related to women's issues. The valuable time of having my private studio was an added bonus where I could express myself freely. With a constant flow of ideas by interacting with the local LA art scene, life began to shape my direction in my art-making as well as a realization of a diaspora and the power I had to not only conceive but also execute my narratives with an audience which was in synergy with my evolving ideas. The LA art scene was bustling with energy, and I had increasingly gained momentum as an emerging artist during my first solo show at the Downtown LA gallery in 2009. And since then, more museums and gallery shows across the States have paved the way toward my professional career as an artist.

Can you tell us about the process of creating your work? What aspect of your work do you pay particular attention to?

My most favorable experience was when I went on hiatus after some unforeseen circumstances in my life. I had a studio in my little space where I would find unrestricted time to create. I was living by myself, fully engaged with life in constant flux. During this period of my artistic journey, I audited a class with Lawrence Yun, a professor and notable artist who was teaching photo-realism drawings; I absolutely loved the process of the slow and deliberate rendering and therefore loved this type of drawing. For me, art was a gateway into spirituality, and it was very therapeutic to create repetitive mark-makings, almost as a form of meditation. Since I have always had a passion for repeated patterns, designs, and delicate linework, finding this new avenue was extremely rewarding in terms of quenching the thirst to challenge myself. Difficult? No, challenging? Absolutely. Yes, and very time-consuming. I found new ways to look at things. I was asked to teach the class when Yun was going on Sabbatical, and at that time, I knew he must have chosen me out of all the artists as my work stood out to him. I experienced this on many other occasions, and I suppose it was organically realized that I wanted to be one of the artists who can make a difference in the world.

Along with delicate line work in drawings, I explored Persian miniatures and intricate skills on handmade wasli paper. I suppose I had the need to cultivate a sense of belonging and to be understood as an artist from South Asia. Even though I feel differently now, having lived in the United States for over 25 years as a professional artist, there is much more than what goes into the art. I have a need and a sense of duty towards it as it is a powerful tool to make a change and raise awareness. An arsenal of skills is another way to execute the ideas to put a conscious value on your process. During my hiatus I was experimenting and documenting a lot and creating collages started by just exploring. I would extract images from magazines and reappropriate them in my own ways. I was by no means in a hurry to bring my work out, as I had to be fully immersed in the experience myself before I could share my vision with others.

The Neon and the Fluorescent Ladies (IV: A Party I) © Fatima Jamil

Your work revolves mainly around women, how they are perceived and what the personal and collective experience of being a woman is like? How did you come up with this concept and how has it evolved over the years?

Being a woman and an artist in Pakistan had restrictions on what I could or could not do. I had limited personal freedom with creativity when outside the parameters of home and for the most part, I avoided creating art with loaded and sensitive inquisitions. I grew up in the '80s and witnessed the times of President Gen. Zia's military dictatorship in Pakistan. Of course, being a woman, I was subjected to inequalities as womens' basic rights were compromised due to the oppressive nature of the conservative environment. To this day a lot of hard facts were concealed from the masses, and glossed over until the internet age where everyone with a cell phone could document disadvantages faced by women. There was a huge gap between the sexes as far as basic human rights were concerned. I had many unanswered questions as to why women were not given equal opportunities as men who were just as capable. In my personal life, my parents were very liberal, and the contrast of being raised with advantages was very different from what the majority of women faced. This was very unsettling to me. However, a lot has changed in the last 25 years. Women are progressively channeling through old stereotypes and balancing work and home life. Women play as much as an important role in the socio-economics of the welfare of a country, and it's ludicrous to think that this balance should only be tipped in men's favor. A balanced workforce shared by men and women is essential to maintain an equilibrium in society.

Artists are similar to being social antennas, and an artist's political, social and cultural environment is naturally tied into current affairs. For me, any art making would be meaningless if it didn't create an awareness towards a positive change for culture, environment and society. Being a woman and having grown up in an all-girl catholic school I was surrounded mostly by multiple lives and the many personal narratives women have shared with me. I witnessed humility, courage, bravery and victimization which moved me deeply. Many of the narratives would be considered blasphemous to reveal and therefore I feel there should be a revival in the segregation of religion and culture. Islamic laws and government laws are intermeshed and oftentimes there is injustice without a trial. Women especially get the shorter end of the stick and can be severely punished by honor killings. Islamic laws should not be entwined with state laws. Women cannot gain power or respect and those who demand their rights would often be targeted and eliminated by death.

My work has certainly evolved over the years, especially after having moved to the US. With my recent work, I am being directed by my ideologies of religion, politics, and its connection to women in the global culture.

Your personal experiences deeply influence your work. What are your other sources of inspiration?

Over time, the concept was developed by absorbing and attempting to reiterate truths and facts by choosing to paint non-literal representations. I have been an avid collector of ideas and get my inspiration from information gathered from historical art, prehistoric artifacts, Islamic inspired patterns, spirituality, literature, current affairs/news. I am currently working on bridging these findings with visual concepts and narratives. There are a myriad of problems in America as well, where women are being sexualized and objectified. My works are a documentation of experiences in layered coded meanings which are derived from the aforementioned research. I am attempting to bring realities to light through an artistic approach through traditional and digital media, ceramic, and film. As a creative person, I make sense of the events real or fictional while tracing out the formal structure of the artwork. It is sort of cathartic for me. My art is a means to disclose the atrocities faced by many women, and in turn, provides a sense of urgency for me to inform, actualize and affirm truths.

Over the past couple of years, we have witnessed a growing number of online exhibitions and live events. What do you think of the recent changes in the art world?

In recent years art has gone through an undercurrent of changes. Brick and mortar galleries have either permanently shut or were in lockdown during Covid19. A lot of Museums and galleries have an online presence nowadays. It definitely has its pros and cons. One can go 'visit' an art fair in their home, but the downside is not being able to gauge the sheer experience of seeing it in person. The advantages are many, of course, one being that many artists from across the globe can electronically correspond and share their artworks across the world in a much more convenient way.

Do you miss the art world as it was before the pandemic, or do you see more opportunities now?

From my experience, not being able to go to gallery openings and art events during Covid-19 made me reliant on social media like Instagram and virtual International and local art fairs. I saw the change in how the physical sectors very quickly started adapting to hosting exhibitions and art events online. This of course, called for reimagining and re-prioritizing how art spaces would work in the future in a post-pandemic era. These days almost everybody has a computer at home, or a cell phone and museum and gallery spaces can rely on electronic sources for viewers to experience art. With the popularity of VR headsets, smart glasses, and Google cardboard to view 360 videos, most walkthroughs can be streamed from home. Pre-covid, the cultural programs were designed mostly for foot traffic with some digital exceptions. Now almost every art fair, gallery or museum is able to connect with an audience beyond the physicality of the spaces. However, the change has been swift and quite beneficial as a larger growing number of people are gravitating towards digital tools to expand on their experiences. As a creative person who works with digital mediums, this is very exciting to me as I am able to push my parameters to extend beyond the physical space and reach a wider audience who can then experience my artistic vision.

What are you working on now, and what are your plans for the future? Anything exciting you can tell us about?

I am constantly toying with ideas by not letting predictability or stagnation occur. I suppose that would be a virtual death of my creativity. I need a constant source of ideas to flow. These days my art is moving in varied directions in terms of materials and experimentation. I am currently working in photographic work, moving images and ceramic installations. I am sure with my restless curiosity, I am excited to be working towards new and bigger projects. The materials I am using are mostly sculptural components with digital work inspired by Baudrillards's "Simulacra and Simulations" which embodies symbols, reality and society. Similarly the current work is based on the concept of a 'simulacrum' reality and a projection of women portrayed in an utopian world.

What is one thing you hope to accomplish this year? Do you have any special projects or series you have put away and you finally decided to start?

I am working on installations and sculptural pieces using ceramics, mainly porcelain, as far as hands-on, traditional mediums go. Along with film/moving images, I'm concurrently working on auditory/sound art. My current body of work is in digital media and I am excited to add other digital components to my existing concepts. The moving images will work in loops and will be in shorter sequences. I have also been working simultaneously on interjecting live performance segments with video projection which, at some point, I'm hoping to finalize and complete. It is a very exciting time in my life.

Finally, share something you would like the world to know about you?

As a progressive feminist, I have strong values and beliefs towards fundamental rights for all genders. I feel it's a necessity for me as an artist to have a voice to be an advocate for cultural change. What is exciting to me is the need to adjust the personal barometer of self-expectations constantly. I am in constant fluxes, and I am conscious of the fact that I may be stepping into threatened zones of a still very conservative modern-day Pakistan. Due to working with nudes and having used segments from the Quranic verses as poetic metaphors, I am not sure how the fundamentalists would take it. My work as an American resident has allowed me a plethora of unexplored avenues when it comes to creating a dialogue. As an artist, I have an inner need to contextualize all feminist perspectives and render some of the many false assumptions of the projections of females in any culture, be it Western or Eastern. Art is predominately a powerful tool to engage with nuances or with direct speech. It is pivotal for me to reiterate feminist perspectives affirming truths and subverting consequential outcomes of the patriarchal cultures.

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