I'm so lucky to be in the woods for all of July. And so grateful to the Meredith Morabito and Henrietta Mantooth for the Fellowship!
I spend my days walking around this hilly campus. My favorite spot to draw was the loom room, which also houses the Alfred Evers Archive. I scoured through the treasures of this archive every day- mostly picture books nature preserves, history of the Catskill region, Ben Franklin autobiographies, ethnography books on indigenous people that once lived where I was sifting. All of which entered my smaller drawings (not pictured here).
Thrilled to talk to Kimberly Ruth of Art Uncovered/Breakthru Radio
To listen to the full interview go here!
My sister Bushra Rehman’s poetry book Marianna’s Beauty Salon will be released in May 2018 with Sibling Rivalry Press.
My work is the front cover!
SAVE THE DATE for the Book Launch:
May 24, 2018 @ Asian American Writer’s Workshop, NYC
More about Bushra
You can purchase your own copy here: Sibling Rivalry Press
Performance: Friday, May 11, 6:30 - 9pm
Doors at 6:30
Performance at 7pm
Free and open to the public
Corrugate Studio Collective & Gallery
1170 Corrugate Way, Columbus, OH 43201
COLUMBUS, OH – Multidisciplinary artist Sa’dia Rehman will create a large-scale wall drawing, Map of my Home, II (2018) during a one-hour performance at Corrugate Studio Collective & Gallery. This is Rehman’s first show at Corrugate.
During the performance, the artist will engage with images from her growing archive: a range of sacred, mundane, and profane images collected over fourteen years, including family photographs, mass media images, English and Urdu text, art historical images and Muslim iconography. In working with imagery that is often marked foreign and often constructed as an ethnographic study of people of color and colonized people, Rehman’s work challenges the position of the universal. The work grapples with the dialectics of imagery, language, between having and lacking the power to define how we speak, how we are seen and heard.
Map of my Home, 1985: Memory, maps and movement
Performance and Conversation: Thursday, April 5th 7-9pm
Performance will begin promptly at 7pm
Free and open to the public
Alwan for the Arts
16 Beaver Street, 4th Floor, NY, NY 10004
NEW YORK – Multidisciplinary artist Sa’dia Rehman will create a large-scale wall drawing, Map of my Home, 1985 (2018) at her residency with Alwan for the Arts from Monday, April 2 to Friday, April 6. The site-specific installation, which will emerge and unravel through the course of the week will speak to memory, maps and movement. This is Rehman’s first show in New York after receiving her MFA. A nominee for the 2017 Joan Mitchell Foundation Painters and Sculptors Grant, she has shown her work at The Center for Book Arts (2016) Twelve Gates Arts (2014), Queens Museum (2012), Jersey City Museum (2010) and Jack Shainman Gallery (2005) among others.
Rehman will utilize the space at Alwan for the Arts as a site for building and creation. The work will unpack the meaning of movement, memory, and maps. Rehman is interested in how movement is, in itself, an aspect of what it means to be human. At the same time, movement and migration do not have stable political content. Their meanings are context specific and dynamic. For centuries, human beings have traversed the globe and moved from one place to another for a wide variety of reasons. British settlers moved to North America and displaced and decimated the indigenous residents of this land. The indigenous residents were relocated—they, too, moved and migrated. Chattel slavery depended on forced migration. Contemporary waves of migration from places as disparate as Pakistan, Cuba, Iran, and Mexico, continue—each channeling their own histories. And at the same time, Black and other communities of color and working class communities are pushed out of Manhattan, Brooklyn, and Rehman’s birthplace Queens. Borders shift and are redefined all the time by virtue of this movement and contestation.
On the evening of Thursday, April 5th, there will be a live performance and conversation, where the artist will continue to test, create, critique the possibilities and limits of the work: taking things apart, inspecting the pieces, putting them together, marking them, and rearranging them. The performance will occur in conversation with the public and other artists and intellectuals, blurring the distance between artist and audience, individual auteur and the collective.
Rehman: “My work engages the unfinished as method, material, and process. By focusing on the unfinished, the work rejects the idea that any work is finished or fixed. Instead the work turns the viewer to focus on the process of art-making. It points to the subjectivity, rather than objectivity, of the artist as art maker, and the viewer as consumer. I am interested in the relational and dynamic aspect of understanding and meaning making. The work deals with issues that exist in ever-shifting and polarized terrain – migration, Muslim identity, gender, nationalism -- which makes understanding between artist and the viewer near impossible.”
3rd i NY Film Programming is made possible in part with public funds from the Fund for Creative Communities, supported by New York State Council on the Arts, and the Manhattan Community Arts Fund, supported by the New York City Department of Cultural Affairs, both in partnership with the Lower Manhattan Cultural Council.3rd I NY also thanks Alwan for the Arts for hosting our film screenings and to the SINGH Foundation for acting as our fiscal sponsor.
MH Projects (Mark Hachem Paris, Beirut, and New York) is a sponsor for this event.
Alwan for the Arts is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council of the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and by an award from the National Endowment for the Arts.
I am happy to be writing from the snowy town of Johnson, Vermont Studio Center (VSC), where I am an artist-in-residence this month. Here, I am diving deeper into my large-scale wall drawings. The work grapples with the dialectics of language, migration, Muslim identity, gender, and nationalism. I am also looking at process, materials, drawing and performance.
For this residency, I received support from VSC, Alwan for the Arts/3rd I NY and the Greater Columbus Arts Council's Aminah Brenda Lynn Robinson Professional Development and Research Grant.
outside/inside: Sa’dia Rehman
Jan 16 – Feb 8, 2018
Pearl Conard Gallery, Mansfield, OH
Artist Talk: Thursday, Jan 18th 5PM
Opening Reception: Thursday, Jan 18th 6-8pm
I just returned from visiting Mecca and Medina. The structures, the geometry were etched in my mind. The sound, the silence, the cold marble on my feet and families. a sea of families on carpets.
This is my first large-scale work on paper made for my solo exhibition at Pearl Conard, Mansfield, Ohio. The work expanded across six watercolor paper panels. As you can see, it took over an entire wall in my studio. Sometimes the size of my studio dictates the size of the work. The work evolved over a period of two months before installation. You can see the finished piece here.
Installation of Bul Bul Ka Bacha: A Rhyme at The Carnegie, Covington, KY
First time this New Yorker stepped foot in Kentucky. Quaint area at the edge of Cincinnati, OH.
I encourage you to visit too at the OPENING : Friday, December 1, 2017
This piece is made by using a hand-cut vinyl stencil to trace and repeat the text of an Urdu lullaby titled “Bul Bul ka Bacha,” which translates to “Nightingale’s Child.” The owner of the bird, gendered as a young male, narrates the lullaby. He cares for the bird until he sends the bird away. The bird never returns. In this work, the stencil becomes a tool to re-learn this lullaby as an adult and then trace and repeat the gendered verbs.
The text was repeated in English and Urdu, upside down, sideways, backwards, horizontal and vertical. I layered, scraped, erased, and covered the text.
This grid installation echoes the restrictive tools I use: the primer, the stencil, the traditional art material, the grid and how I break these forms by erasing, smearing, fracturing so the text is now illegible but still evokes a sense of fleet and escape.