In her earlier critical theory design work, this has translated into recording statistics in visually fluid, quantifiable measurable ways, with ink, ceramics, and plants. Between 2010 to 2019, Khan’s sole focus was on her creative & art direction roles within fashion, homeware and beauty.
During the early stages of the London lockdown in 2020, Khan’s passion for art was reignited as the world stud still, her own reflection was explored. Thus resuming her art practise. Today she produces contemporary abstract expressionist pieces via the use of acrylic, charcoal, chalk and poetry across canvas paper and film. Khan’s practice aims to explore juxtapositions around emotive behaviours in the sphere of; the relationship with ourselves, what it means to be feminine, the occurrence of coercion & control, and the fragility & restless motions of life. She has stated previously that she is compelled to create, being both a meditative and explorative practise for her. The commentary which takes place upon viewing her work should provoke deeper feelings about our own temporary nature.
Recently Khan has exhibited in Madrid with Galeria Azur, FLUX London curated by Lisa Gray and The Other Art Fair, edition London in March 2022. She is a part of the artist’s group ‘Ajkar’ by Oitij-jo, celebrating artists of Bengali heritage. She is currently represented by NewingerArt (London) and Galeria Azur (Madrid & Berlin).
Khan runs her own arthouse studio ’701’ as Creative Director on design projects alongside her fine art practise. Based in Greenwich London, the space hosts regular open studios for collectors. Khan runs ‘Become’, a sound bath meditation & abstract mark-making workshop with friend and colleague Olivia Howitt (previously Sotheby’s, BBC Futures). Workshops resumed in July 2022, with an interactive installation demonstrating the dynamics between sound and action in late 2022. Khan plans to exhibit at the Affordable Art fair in October 2022, London Art Fair in January 2023 and the upcoming show ‘Dreamland’ with Galeria Azur Madrid in October 2022. She is planning a live performance of paint, film and poetry in March 2023.
Self-taught or art school?
When it comes to fine art, I am self taught. Sure, I’ve ‘always’ painted. It was a first love from a young age. It allowed me through my childhood and teens to express and work through parts of me that I didn’t necessarily want to talk about. Art also enabled to me explore different topics/themes throughout history and how they would be seen today. When it came to specialising in my foundation year at Leeds College of Art, fine art took a backseat to make way for Design which I studied at Goldsmiths UoL.
If you could own one work of art what would it be?
So, there’s 2 pieces. I’ll start with the one, I don’t have a name for, let alone artist. This piece I saw at Tate Modern, when I was 17 (I think). I remember staring at it for 20mins before having a conversation with a fellow admirer about how the colours led together. To this day, I still think about that abstract piece and how it moved something inside me.
The second piece I saw at London Art Fair in April by Japanese calligrapher, Seika Kawabe. The piece is ‘Untilited’, ink on paper at 101 x 75cm. A part of the private collection of Denis Bowen/Different Gallery. I love the movement in the piece and it’s on my list of things to purchase when I eventually buy my first home.
How would you describe your style?
Contemporary abstract expressionism. Even the minimalist pieces I do, are so expressive, there’s nothing minimalist about them. I love to flood a canvas with texture which has no resemble of a physical entity. The aim of this is to let emotion and internal narrative develop to the person viewing my work.
Is narrative important within your work?
Yes, in more ways than one. There’s usually a prose or poem I’ve written paired with a piece. I think the partnership between abstract visual and abstract words enables dialogue to continue to develop a personal dialogue for the viewer. Narrative doesn’t have to be this spoken linear form. Often, I’m looking for the creation of depth and yes, narrative helps create this.
For myself, the discoveries made within the conjunction of poetry and paint often influence the next few pieces. A lot of my work is often about realigning the self, spirituality, polarities in life – i.e. yin/yang, relationships with everything and everyone.
Who are your favourite artists and why? – need to write why
I think there’s too many to list, but let’s try.
Cy Twombly, is an old childhood favourite. I think when you’re in school, you learn about the greats we all see in the established, large collection galleries you visit on holiday. Miro, Pollock, Kandisky, Warhole, Bacon etc. But for me, Cy Twombly, had this wonderful, not always ascetically pleasing, none the less, moving way of expressing himself. His lines are always intuitive and the pace of which he works communicate a plethora of emotions. He is one artist where I’ve learnt the challenging nature of the piece is where the magnificence lies.
Rothko, another great whom I love. The big washes of colour can totally engulf you for a while. When it comes to his work, he’s a lesson in less is more. Less detail, less elements to engage and overwhelm the viewer.
Maria Qaymar aka Hate Copy, was the first real, mainstream artist who looked like me. She makes work which resonates with the everyday of my south asian youth. The gossiping aunties, putting salt in someone’s tea, the forbidden romances – all done with humour in pop art. It wasn’t just her art, it’s her. She’s this total inspiration.
Nadia Waheed is another asian female artist, who explores her environment and self directly through her art. The narratives she communicates are both to the point and vailed. Her work is done so beautifully and I can’t wait to see her solo show in Gallery 1957 this September (2022).
Tina Maria Elena Bak, is an artist who does really great intimate, naked lady art. There’s a theme of feminine joy from a female gaze within her work. Through her narratives, she’s enabling the normalisation and accessibility of sensual language. When you look other workout’s are not to recall a moment where you were in a similar joyful, loving situation.
Tabitha Millett, to me, is a total badass. She is an abstract artist. I love her work because it’s to the point and instinctual with her large washes of thick black colour. There’s so much confidence, motion and energy in her pieces. There’s no urgency, the way the colour is applied seems to be just and well timed.
What or who inspires your art?
My environment and the people in my life. Sounds cliche but it’s true. The emotions experiences through life’s events or the experience of people are what I paint. The view outside the window, the colour of the sky, the feeling of rain. That memory of a person and the energy they left. Quite often my paintings are portraits of people in my life, or self portraits of my inner world. When I sit down to paint, I often write, and process the world around me. By those means, you could say to a point, I am my own muse.
Are there any recurring themes within your work and can you tell us about them?
Astrological transits and how they affect personal vs collective mood, my spiritual and religious beliefs are all key players. So many of my pieces are named after planets or something to do with the weather on those planets. There’s a lot of yin/yang elements present in my work. Sometimes the canvas is sparse, filled with urgent intense marks. Sometimes it’s full of colour, deep and nurturing.
On the other hand, there’s more ‘real world’ themes. My relationships – more platonic these days however the study of past romance drips in from time to time. The feelings and experiences of my youth. Growing up as a female in a south asian community came with its own expectations which are still present today.
Where’s your studio and what’s it like?
My studio is based in Greenwich’s Design District, in Building A3. I’m in this wonderful south facing studio with a view of Canary Wharf behind me. When originally myself and a friend were looking for a space to grow the ‘branding’ side of 701 (subsequently the fine art side has taken over), I asked we have a space with lots of natural light, large windows and white walls. I love the concrete ceilings which remind me of my first job at Conran.
The room is filled with plants. There’s large canvases leaning on all 4 walls and I’m aware I need to clean the very white floor of the acrylic paint splats. There’s a few design books mainly on fonts and some photography equipment from when I’d art direct product shoots. On my desk, there’s candles, an incense holder, a small book with chosen phrases from the Qu’raan and a large chunk of black tourmaline.
Do you have any studio rituals?
When I enter the space, I greet the room. If I’m painting, after I’ve set my paints, brushes, water, etc , I often take off my shoes so I feel grounded. Sometimes I’ll burn some incase and play classical or R&B music – something I can sing along to. And that’s it for the next 1-3 hours. I need to keep the focus to channel what it is I’m feeling. If I’m stretching canvases, I’ll probably have an astrology (Moon Matters is brilliant) podcast on.
What are you working on currently?
A few things! In my day to day, I still design and creative direct.
In terms of art though, I’ve got a few pieces I’m finishing for new platform Interrupted Art which will be showcased from June 2022. The work curated for the platform include some older pieces following through to new work made exclusively for Interrupted Art. I’m really excited.
I’m starting a new series called ‘Play’ which is a Segway from my current series ‘Meaning of a Song’ and a 180 from my previous series ‘Control’. ‘Play’ focuses on what pure feminine joy feels like when we are true to ourselves. I’m hoping the bulk of this series – complete with prose/poetry will be ready for my October shows.
I’m hoping to produce a short 3-5 series of films, which feature me painting in response to my poetry. I’m currently looking for a space where I can do this, and possibly turn it into a ticked event for this September or October.
I’ve started a few projects with some friends. One of which is ‘Become’ a sound bath meditation, abstract mark making workshop with Reiki Master & sound practitioner Olivia Howitt. Currently our sessions last around 2hours where the participants are guided through a meditation, and then invited to create a series of marks in repose to the soundbath. Both myself and Olivia felt there was a need for more ‘yin’ – calming, beginning, aligning – energy, especially in London post lockdown where everyone seems to be on the go and making up for lost time. Sessions resume in July 2022.
Where can we buy your art?
Saatchi Art https://www.saatchiart.com/shumaiyakhan
My website www.701.studio/shop where you can learn more about events and my process
Stefan Becker who is my agent at NewingerArt https://newingerart.com/ – who also works with some really talented abstract artists, so I’m very happy to work with him.
Soon new platform Interrupted Art by Stephanie Crosland-Goss https://interrupted.art/
Galeria Azur https://galeriaazur.es/ based in Madrid and Berlin whom both also have Artsy and Artsper platforms.
What are your ambitions?
Honestly, I would love to just continue making art, expanding my practise, working bigger, getting my work in different corners of the world. Just see how things unfold.
At one point, I wanted to have a have a successful branding studio, a limited run gold jewellery line, a homeware brand, a plant seed company (we have to save the bees), and run an arts charity for deprived communities in inner cities. However – and I’m actually working on a few of these things – I’ve learnt I don’t need to achieve all these things in the same week.
If I could only pick one, it would to never stop making art. And the seeds.
