Farwa Rizvi…Mastering Her Art On Two Continents

Leeds is becoming a city that attracts artists. The variety of galleries, the art education on offer and a rich cultural scene are encouraging creatives to call Leeds home.

One such artist is Farwa Rizvi, who came to the City to study an MA in Fine Art at the University of Leeds, and has continued to work and create here.

Rizvi describes herself as a ‘disporic artist’ who works between Pakistan and the UK. She describes herself as a minority artist, both here and in Pakistan, where Shia Islam is followed by only around 10% of the population. She draws upon her cultural and religious roots to explore ideas around faith and identity and is fascinated by the ways belief systems shape identity and community.

She tells me that she has been attracted to art since childhood. She grew up surrounded by stories and symbols and says that art has given a way to express herself that she ‘found difficult in words.’

At the centre of her work is an examination of tradition, specifically around remembrance of the battle of Kerbala and the martyrs who died there. Whilst the associated rituals draw upon mourning, I find her art far from morbid. The strong colours and powerful scenes suggest commitment and spirituality, reflective but also joyful. Rich reds often feature in her designs, adding a sense of passion.

She has been inspired by artists who explore spirituality and memory such as Shirin Neshat, Shahzia Sikander, and Mona Hatoum. She sees her work evolving and reflecting the changing nature of ritual, saying ‘through modern materials and methods I seek to create a dialogue between the past and the contemporary, the sacred and the secular.’

Her work has exhibited widely in Pakistan and the UK. Locally she has had shows at Leeds Playhouse and Sunny Bank Mills, where she featured in their Ones to Watch 2024 exhibition.

I asked Rizvi if she perceived her work as political in the current social climate. Whilst she would not describe herself as a political artist, she went on to say that acts of remembrance, especially within contexts of marginalisation ‘are inherently political.’ When people gather to mourn, they are also affirming resilience, identity and community.’ She talked of her work holding two energies, ‘the quietness of spirituality and the urgency of resistance.’

Her artistic practice draws upon a variety of technique and media, containing found and constructed elements. Fabric, paint and photography all contribute to a rich examination of identity. Her experiences in the UK have opened her eyes to the value of photography, which she previously used as preparation rather than product. She has also come to value archive material and now works in the archives at Leeds University.

Rizvi is currently documenting Shia community archives and rituals from Pakistan and the diaspora in the UK. She describes it as ‘a living archive, one that not only preserves but reinterprets history through art.’ It will combine photography, oral histories, and installation. She hopes it will eventually become a digital platform connecting dispersed communities and creating a space for dialogue between tradition and contemporary practice.

Those with images or stories to share can contact Farwa Rizvi by email on [email protected]. If you would like to see more of her work, visit her website www.farwarizvii.co

Main image Farwa with Karbala is ready. Photo credit Debbie Rolls.