“Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.” Albert Einstein We meet talented artist and art curator Sheherbano Husain who was recently a speaker at the Karachi Literature Festival this year. Sheherbano has taught painting, drawing and art theory at the Indus Valley School and the University of Karachi. She is known to many as an art critic and has worked in Newsline magazine as one. She has also been on the curatorial committees of several art exhibitions. Her portfolio also extends to being on the jury of various film festivals and degree shows. A prolific painter, she has participated in many art residencies and has held several exhibitions of her work in Pakistan as well as abroad. She was the recipient of a blue ribbon (first prize) for a juried exhibition conducted by the Brazos Valley Art league, USA, during her time at the Texas A&M University. Extremely dedicated to the field of art, she describes herself as a full time artist and a part time curator and art writer. Sheherbano obtained a BFA in painting and printmaking from the Indus Valley School of Art and Architecture, in 1995. What Media do you paint in and what is your work about? A: I work mainly in oils and mixed media. My art practice has largely revolved around the self and story-telling, using both personal and archetypal symbols to depict psychological and emotional states, so I suppose you could call me a Neo Symbolist. My intention has always been to create works that reinforce the idea of a single humanity and have a universal appeal and spark the viewer’s imagination, providing a meditative inner sanctum from the noise of a highly polarized, volatile world. I had a pretty fertile imagination as a child. This wonderful inner sanctum was not only a refuge from all that was wrong with the world, but often provided solutions to problems; solutions which couldn’t have been sought in an agitated state. Currently the majority of the world has a highly reductive, fear based mindset. While focusing on pertinent issues such as identity and gender politics is important, solutions cannot be reached through this obsessive, divisive mentality. My endeavor is to inspire people to go back to that place within themselves which empowers them to overcome any obstacle reminding them to celebrate every moment. Could you tell us about the transition from being an artist to an art curator? I feel I am a fulltime artist and a part-time curator – and therefore, there is no transition as such. In Pakistan, most artists don’t have the luxury of just being full time artists, due to a lack of public funding and artists’ grants. You end up doing a lot more; some teach, work on commissions or even do office jobs. Like most artists, I too have dabbled in other areas to financially sustain my art practice. Out of these, I really enjoyed curating, because you play an important role in creating exciting platforms and opportunities for artists – in a way, it fills in some of the gaps that are there due to a lack of art museums and other cultural institutions. Art galleries also fill in that gap. What influences your creativity? My influences are numerous, ranging from the gnostic traditions of Sufism and mythology, to art history and Chaos Theory – I grew up with a love for the fantastic and the poetic, the former reinforced by stories and fables passed down to us by our grandmother, and the latter by my father’s love of Urdu, Farsi and English poetry; I inherited his love of English Romantic and Metaphysical poetry. Additionally, my mother’s collection of prints of artists from the Romantic era, such as Caspar Friedrich David, further sparked this sensibility. Could you tell us about your latest project? I’m currently in the process of curating a show titled, ‘Reliquary’, featuring 12 artists, ranging from renowned senior artists like Meher Afroze, to young emerging talents like Zoya Alina Currimbhoy. The show opened in February this year, at the Chawkandi Gallery, Karachi. This is the second show I am curating for the gallery; the first one, titled, ‘Inside Out’, was held last year. The catalyst or something that inspired you throughout your journey? I think there were two defining moments that set me on this path. The first was a trip to Paris when I was around 13 or 14, with my parents – my father, aware of my growing keenness for the arts, took us to countless museums and art districts like Monmarte, to further cultivate this interest. The second was an art competition, held for students at the PACC, Karachi. I was doing my A-Levels at the time and the show was judged by the late renowned artist and gallery owner, Ali Imam sahab. His encouragement and appreciation of my work, quelled any doubts I had about becoming an artist. Most people I have met in this industry have been very helpful and wonderful to work with. The challenges you may have faced in this field? The lack of funds and platforms make this a challenging field to be in. It takes a tremendous amount of self-belief and motivation to carry on against the odds. Therefore, it is best to ignore any kind of criticism – unless it is the constructive kind, which rarely ever happens! Your thoughts on the art industry in Pakistan? I feel in order for our society to mature and evolve, it is just as important to promote the arts and cultivate an interest in cultural activities as it is to focus on economic and technological growth. Here I would quote something by Albert Einstein, “Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.” The writer is known for covering topics which have a socio-cultural impact