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Nusra Latif Qureshi: Simulacra, strategies of selves - Sutton Gallery
Nusra Latif Qureshi trained in Lahore in the Mughal miniature painting tradition and has developed an extraordinary contemporary painting practice that engages with the rich, visual histories of South Asia. Qureshi is recognized as an important...  Read More
 

Presenting Artists

Nusra Latif Qureshi

Area Map and Address

254 Brunswick Street, Fitzroy, Australia

While in Fitzroy

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Australia / Fitzroy : Exhibition
Gertrude Contemporary Art Spaces
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Marco Luccio - Port Jackson Press Print Room
Australia / Fitzroy : Exhibition
Port Jackson Press Print Room
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Sheridan Jones: The Aviarist - Port Jackson Press Print Room
Australia / Fitzroy : Exhibition
Port Jackson Press Print Room
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About the Event

Nusra Latif Qureshi trained in Lahore in the Mughal miniature painting tradition and has developed an extraordinary contemporary painting practice that engages with the rich, visual histories of South Asia. Qureshi is recognized as an important member of a generation of Pakistani artists who have revived and innovated the traditional art of Mughal miniature painting. Her works feature motifs from the past, ideas from the present, and techniques from both, often on small, sparingly painted surfaces. The historical symbolism of the female figure has been a central theme in her work. Her paintings reveal a complex engagement with stereotypes, and present history as a collection of overlapping fragments, rearranged to construct new narratives. Isolated female figures foreground layered imagery appropriated from colonial photography, patterns from textiles, silhouettes and botanical paintings. Qureshi often inserts these lone females into examples of iconic South Asian miniatures - an art form known to be male dominated. By depicting figures painted in ghostly outlines she maps history's erasures and in this way Qureshi questions recorded historical truths.

Since moving from her native Lahore to Melbourne in 2001, this subjectivity has expanded to include the trials and tribulations of being an immigrant woman in Australian society. She continues to push the conventional boundaries of her art form, creating exquisitely detailed paintings, executed with technical perfection, and masterfully employing this ancient craft to respond to contemporary culture. In recent years, her practice has expanded to include large scale installation and multimedia in which Qureshi continues to combine the tropes and language of miniature and Company painting, with nineteenth century conventions of portrait photography, to explore the politics of representation in art history.


 
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