Tag: New York

In a year defined by market calibration—especially on the ultra-contemporary front—very few young artists have truly emerged. One of the rare exceptions is 28-year-old Pakistani and New York-based artist Aiza Ahmed, who in 2025 achieved rapid, sustained recognition across two key regions: the art world’s center in New York and the rapidly expanding cultural ecosystem of the Gulf. Her enthusiastically received debut solo at Sargent’s Daughters closed only weeks ago, yet she is already preparing for the inaugural edition of Art Basel’s Qatar in February, where she will be one of the youngest artists featured in the fair’s curated exhibition format led by artist Wael Shawky. Although she completed a year-long residency at Silver Art Projects, Ahmed has temporarily traded her downtown Manhattan studio views for the MENA region’s most prestigious residency at the Fire Station in Doha, also directed by Shawky. She spoke with Observer from that studio, where she is working on the major installation she is preparing for her next milestone moment in Doha.

This continual movement between countries and cultures is not new to Ahmed, whose life has been shaped by constant geographical crossings. Her grandparents were originally from Calcutta but left India for Pakistan after the 1947 Partition, beginning a migratory trajectory that has threaded through the family ever since. Born in 1997 in Lahore, she spent a brief period in Karachi before relocating to London with her family at a young age. Ahmed spent her adolescence in Dubai before moving to the U.S. for her undergraduate studies at Cornell, followed by an MFA in painting at RISD. Now a decade into living in the States, she acknowledges that her life—and by extension, her art—has been defined by inhabiting the in-between, switching between cultural contexts governed by different social codes. That instability has sharpened her acute spirit of observation of the humanity around her, from which all her work originates.

Upon entering her solo at Sargent’s Daughters, what stands out is not only the maturity of her visual lexicon but also the clarity of her world-building instinct. Ahmed moves fluidly and inventively across mediums, shaping entire narrative spaces from the moment she traces a face or draws the psychological contour of a figure, then expands that gesture outward into the room as a potentially ever-evolving story.

“I’ve been drawing and working with my hands for as long as I can remember,” Ahmed tells Observer. Her parents say she was always making things or engaged in some kind of craft. But it was around year seven or eight—early in high school—that her interest began to take real shape. “I had a favorite art teacher who I credit so much—she supported me from the beginning and would leave little notes in my journals, encouraging me. They were just drawings I used to do, but she really saw something in them,” she recalls. “I also recently found these caricatures I made when I was about ten, these political cartoons, and looking at them now, I can see the threads. The seeds were already there—this instinct for humor, for drawing the line.”

Ahmed’s style, in fact, isn’t straightforwardly figurative. Her figures remain suspended in an unfinished state—between dimensions, between figuration and something surreal or even abstract—rooted more in the emotional and psychological space of her characters than in the synthesized volume of their bodies. At the same time, her sharp, confident line work grounds the compositions in a tradition that evokes comics, political satire and caricature. As seen in the work of French satirical artist Honoré Daumier or the German George Grosz, Ahmed’s caricatural style exaggerates posture, expression and behavior with a few quick, incisive strokes, distilling personality or social type into its most telling gestures. She readily acknowledges her connection to this lineage. “I’m really drawn to the face. I feel like I’m a keen observer of people, especially having lived between so many worlds and having to assimilate—from Pakistan to London to Dubai to the U.S.” she reflects. Across all those moves, she adapted in an ongoing process of code-switching—first observing, then imitating, learning to fit in without losing sight of who she was or where she came from.

Drawing gives Ahmed a space for unfiltered, intuitive expression—a way of seeing that precedes the expectations of society or culture. “When I draw, it’s quick and raw,” she explains. “It’s the first mark that comes out. I don’t erase. It’s whatever is coming through me in a stream-of-consciousness way.”

Notably, most of the characters Ahmed brings to the stage are men—often exaggerated in their grotesque appearances and postures, whimsically distorted in their grinning or perverse expressions, or revealed in moments of fragile vulnerability beneath a masculine performance of power.

The artist admits she only recently realized that, over time, she has consistently drawn or painted male figures. “I didn’t notice it at first, but recently I was like, okay, in my studio it’s just all these men of different types and me,” she reflects. Earlier in her graduate studies at RISD, she had been thinking a lot about uncles, she adds. “My whole practice is me trying to trace where I come from, the ancestry I didn’t know, the histories and displacement of my own country that I wasn’t taught until really late in my upbringing.” In more recent series, however, something has shifted—or perhaps she has simply become more aware of the deeper reasons behind her recurring male subjects.

Growing up, and even after she left Pakistan, she returned every summer to visit grandparents, aunts and cousins. During those visits, she became attuned to what she calls the grammar of men. “In public spaces, all you see are men. Women are usually inside, or covered,” she recalls, noting how her visual field was filled with authority, corruption and performance. Even after moving to New York, she found the dynamic not so different—only more indirect. “I can’t walk from point A to point B without feeling the male gaze. It’s uncomfortable. It’s charged. At first, I thought it was just Pakistan, but it’s everywhere I go.”

Portraying men, then, becomes a kind of role reversal. “As a young woman, I’m looking at men. In art history, it was usually the opposite: men looking at women, and no one questioned it,” she reflects. Still, she admits she sometimes feels sorry for her subjects. “The way I draw these border guards, they look clunky, short, stout, almost fragile. And then I’m like, wait, why do I feel sorry for them? It’s all very layered,” she acknowledges.

Ahmed enacts, through her art, a sharp human and cultural diagnosis—exposing the hypocrisies and paradoxes embedded in socially coded, gendered behaviors. With her cartoonish figures, she deciphers patterns of authority and performance. Aiza Ahmed observes society as a system shaped by power dynamics—and claims art as a space to imagine different ones.

When asked if she remembers being particularly drawn to political satire in newspapers or to the language of comics more broadly, she says she probably was not looking at anything specific. “I used to read the newspaper because my father would tell me to—just to know what was happening in the world,” she says, recalling how she often found it difficult and would flip straight to the illustrated sections. “It’s funny—I never connected that until now. Maybe that planted something,” she acknowledges, adding that she loved Roald Dahl and Quentin Blake and grew up watching a lot of Disney. “The Disney aesthetic really shaped me,” she reflects, describing how she recently discovered a Disney encyclopedia series in an antique shop in Doha. “One volume was called Great Leaders. It listed all these men and maybe two women—like Queen Victoria. It was fascinating, and the illustrations were unlike anything I’d seen,” she says. The find feels serendipitous, almost luminous, given the direction her work is now taking.

The fact that Ahmed constantly oscillates between caustic social indictment and a playfully theatrical or carnivalesque register pushes the grotesque into the realm of the fantastical and hallucinatory. As James Ensor once did, Ahmed’s line exaggerates expression to the point of derangement, using humor, absurdity and the grotesque to surface moral and psychological undercurrents, as well as the paradoxical fragility at the heart of today’s crisis of masculinity and the masculine-led world these performances of power seek to uphold. Applying the inverse of a more gentle, compassionate feminine playfulness, Ahmed’s work unsettles fixed ideas of nationhood, masculinity and belonging.

After all, it is playfulness and humor that often allow satire to resonate. They soften the critique just enough for the viewer to enter, while sharpening the underlying point. The best satire lets you laugh and wince at the same time.

This is why Aiza Ahmed’s work often takes on a theatrical presence, as she stages human drama within the space, suspended in dreamlike atmospheres. This was particularly evident in her solo debut with Sargent’s Daughters. Drawing its title, “The Music Room,” from Jalsaghar (The Music Room), Satyajit Ray’s mesmerizing 1958 film, Ahmed translated the movie into spatial terms through a multimedia installation of shifting characters rendered in monumental paintings and wooden cut-out figures. An original composition by historian, composer and guitarist Ria Modak further shaped the mise-en-scène, transforming the gallery into both a soundscape and a theater where these narratives unfolded with unsettling resonance in the present.

Evoking the film’s psychological portrait of India’s zamindar class, propped up under British colonial rule before facing dissolution amid land reforms and shifting politics in the mid-20th century, the music room here similarly becomes a stage for hollow rituals of nostalgia and masculine display. Ahmed’s figures appear as ghostly presences, drawn with raw, essential lines that balance humor and pallor, exposing the paradoxes and slow decay of any myth of masculinity. Crucially, in another act of inversion, she imagines a music room authored by women, turning their gaze back onto patriarchal and colonial power.

A similar impulse shaped her Spring Break Art Show presentation last May, where she first drew wider attention with a booth curated by Indira A. Abiskaroon, a curatorial assistant at the Brooklyn Museum. There, Ahmed reimagined the Wagah-Attari border ceremony, a daily ritual established in 1959 that draws thousands to watch soldiers from India and Pakistan march, gesture and parade as mirrored adversaries in a choreography that has long fascinated her for its oscillation between fury and restraint, rivalry and camaraderie.

In her installation, she amplified the spectacle to expose its built-in theatricality: bugle calls and Kishore Kumar’s bright vocals led visitors through hot pink drapes and onto a red carpet flanked by wooden soldiers, toward an imagined stage where painted and sculpted figures performed their own exaggerated version of the ritual. Within this draped, cardboard mise-en-scène, the soldiers’ postures, uniforms and expressions became social masks—revealing not only the codes through which authority and masculinity are enacted, but also the fragility those performances attempt to conceal. Her presentation at Art Basel Qatar will continue this narrative; she is currently working on new paintings, a suspended muslin work and a series of wooden cut-out soldiers for the installation.

Ahmed’s visual and narrative approach is not far from the narrative strategies used in commedia dell’arte, which established the idea of fixed “characters” representing social types, each defined by a mask and exaggerated behavioral code—or pantomime, which strips these roles even further, reducing gesture to language and expression to narrative. Ahmed’s suspended storylines operate in a similar register. Much like in Pirandello’s work, she uses playful role-playing and seemingly naive humor to generate immediate empathy while simultaneously revealing the fragile, absurd theater of human existence and the drama of identity.

Thus far, Ahmed acknowledges, two main sources have shaped the origins of her work. One is her personal observation of societal rituals—weddings, funerals and ceremonies that exist in a liminal space between the public and the private, where she has been both observer and participant. The other is the India-Pakistan border, which she has studied in depth. Still, she notes, the overarching theme that continues to emerge is the spectrum of masculinity and the attempt to understand its psyche. What is going on in their heads—and how has that interiority hardened into a social rule that has long shaped a shared sense of reality?

When asked if her work is political, Ahmed says that every action can be a political act. “Even if you don’t voice it, you’re making a statement. Being a brown woman is already a political act. There are endless layers you can add to that,” she argues. And endless, too, are the dimensions in which Ahmed’s powerful imagination can evolve, as she continues to translate her both empathic and critical observations of the world around her.

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