June 2019. Digital repeat patterns of handwoven glass beads, inspired by a watercolour painting (see below).
By designing these surface design patterns out of handwoven glass beads, I am reimagining the material function of the technique and medium.
April 2019. 16x20”. Digital print of distorted painting on cotton sateen, polyester thread, silk thread, cotton sateen backing, poly-cotton batting.
Influx is a series of three digital textile installations taking the form of a quilt and two wall hangings. This series is based on a mixed media painting I made in 2016 called Sting Me Not. The original painting was photographed, printed on paper, scanned and distorted, printing on paper, scanned and distorted, printed on fabric, multiple times. The print in each piece therefore contains layers of memories of the original painting. Between each print, I beaded directly on the paper or fabric before scanning and distorting the image.
Slippery Space (Prototype)
March 2019. 12x32” each. Digital print of distorted painting, rubbing alcohol, cotton and silk organza, on paper. Installation view and details.
December 2018. 16x30.5”. Digital print of distorted polychromatic print on silk organza.
Artist’s original poem hand-written and printed with fibre reactive dye, then distorted using Audacity and PhotoShop.
December 2018. 8.5x11” - 16x28”. Digital scan of physical and digital manipulations of a photograph of buta paisley motif, digitally printed on cotton sateen. Rubbing alcohol, PhotoShop, and Audacity were used to create the distortions. Installation view and details.
“The Living Buta” is a living documentation of an ongoing process of the distortion and reinterpretation of the Kashmiri floral motif as a reflection of a Pakistani-Canadian artist. In this series I am exploring and reconsidering in my own way the historic buta (also known as the paisley) motif through intuitive experimentation of digital technologies and hand manipulation techniques. Each distorted image is able to stand on its own as well as be part of this living series.
The title, “the Living Buta”, is a reference to things that don’t die. The buta motif, believed to have been initiated in the 7th century, continues to live in many forms and functions today. This series began with a quick photograph of my buta shaw from the Middle East. I distorted this photo on Audacity, a sound-editing software that allowed me to manipulate the data of this image. On Audacity, I could only hear the sound of my image changing, but not see it visually until I saved the file. Similarly, some of the glitches included interrupted their digital scan physically with my hand, so that the scanner follows the movement of the cloth on the flatbed. In both cases, the final motif was unknown until the process was completed. This ongoing glitch of the buta is to represent centuries of distortion of this motif by people who knew and did not know the history and symbolic meaning of it.
Lines and Dye
An exploration of various surface design techniques, each piece is approximately 8x8” and is part of a hand-bound fabric book. Through machine embroidery, I divided colours into shapes to create landscapes of the imagination. The nature of the fibre-reactive dye and embroidery allows each piece to be visually attractive on both sides of the fabric.