South Asians paint Sydney with their own concerns

Urban Myths & Modern Fables showcases work of 11 artists of Indian and Pakistani origin in the international diaspora 

SYDNEY: Modern day men and women, pose warrior-like, just as in miniature paintings of Mughal epics. Animated against a black background, in Battle Scenes (2006), they repeat their jerky movements—reflecting the absurdity of war perhaps?

Another miniature, this time an exquisite detail of cockroaches, labelled with scientific notes, May Irritate Eyes (2007), references the Pakistani colloquial that describes the treatment of Muslim soldiers as insects.

Meanwhile, a series of collages — made of thousands of rectangular paper pieces stuck over old newspapers — identifies themes of migration, loss, movement and adaptation in the Hindu myth of the Descent of the River Ganges.  

These works are part of a new exhibition, Urban Myths & Modern Fables, that brings together the work of 11 artists of Indian and Pakistani background, working in the international diaspora. The exhibition is running at the UTS Gallery, until October 26, and is accompanied by a range of free talks by cultural theorists and artists. 

“Speaking with South Asian diaspora artists around the world, I found that they all felt connected with their home country, but operated in an isolated context,” says Haema Sivanesan, curator of the exhibition. “I wanted to bring together and initiate a dialogue between these artists.”

Diaspora artists from Germany, England, Canada, USA and Australia, using varied media, still have common concerns, says Sivanesan. “Themes, rather than aesthetic drives their art — whether it is the Iraq war or the sense of being in a different place and what that means,” she explains. Either through myth or fable, each work is a narrative that comments on the world the artist finds himself in. 

“These artists draw on a range of sources and look at traditional art, yet make something new— their works are not weighed down or derivative,” says Haema. Pakistan-born, Canadian, Tazeen Qayyum in May Irritate Eyes (2007) and Hamra Abbas, born Kuwait, living between Pakistan and Germany, in Battle Scenes (2006) subvert the traditional miniature. 

Hitesh Natawala, meanwhile, has long used exquisite collages — using paper rectangles, or dots — punch holes from his father’s accountancy practice — to reflect on his family’s long-winded migration journey from South Africa, to Kenya, to UK and finally to Australia. 

Sangeeta Sandrasegar, who has been identified in a 2005 list of 50 of Australia’s most collectable artists, creates haunting paper cut-outs — ranging from Henna stencils to Chinese paper cutting traditions — that cast deep, meaningful shadows.

Her Untitled (The Shadow of Murder Lay Upon My Sleep) (2006) is a series of paper cut-outs of European designer, depicting scenes of war, alongside a row of dolls, hanging naked, flaccid, dead.

“While Australia is very similar to India — in terms of climate and culture — Canada is very far and different,” says Sivanesan. She is taking this show to Toronto next year, but doesn’t expect as enthusiastic a response as got in Sydney. “Australia is making a bigger effort and wants to know more about South Asia,” says Sivanesan.

(Urban Myths & Modern Fables, UTS Gallery, Mon-Fri, 12-6pm, until October 26. See www.utsgallery.uts.edu.au for more details)