Trained in Mughal miniature painting in Lahore, Pakistan, Nusra Latif Qureshi has developed a rich, contemporary visual language that pushes the boundaries of her artform. Her works feature motifs from the past, ideas from the present, and techniques from both, often on small, sparingly painted surfaces. Isolated female figures foreground layered imagery appropriated from colonial photography, patterns from textiles, silhouettes and botanical paintings. While presenting history as a collection of overlapping fragments, Qureshi reveals complex stereotypes, which are in turn rearranged to construct new narratives.
Select solo exhibitions: Views from the Gold Pavilion, Sutton Gallery, Melbourne, 2018; Of Birds of prey/paradise, Utopia and perhaps Elysian Fields, Sutton Gallery, Melbourne, 2015; The biological remains of an eighteenth century sampler, Chawkandi Art Clifton, Karachi, 2014; Simulacra – strategies of selves, Sutton Gallery, Melbourne, 2013; Desires of Memory, Rohatas Gallery, Lahore, 2013; Forever and Ever, Green Cardamom, London, 2012; Realms of Intimacy: Miniaturist Practice from Pakistan, Contemporary Arts Center, Cincinnati, 2011; The Invisible Gun, Chawkandi Art Gallery, Karachi, 2009; Acts of Compliance, Studio Glass Gallery, London, 2005; The Way I Remember Them, Smith College Museum of Art, Northampton, 2004.
Select group exhibitions: So Fine: Contemporary women artists make Australian history, National Portrait Gallery, Canberra, 2018; The Shape of Time, Kunsthistorisches Museum Wien, Wien, 2017; Nothing to Declare?, The Academy of Arts, Berlin, 2013; Negotiating This World: Contemporary Australian Art, National Gallery of Victoria, 2012; Beyond the Self, National Portrait Gallery, Canberra, 2011; Contemporary Miniatures, QAGOMA, Brisbane, 2011-12; The Global Contemporary, Zentrum Fuer Kunst und Medientechnologie, Karlsruhe, 2011; Drawn From Life, Abbot Hall Art Gallery, Kendal, 2011; The Rising Tide, Mohatta Palace Museum, Karachi, 2010; Beyond The Page, Pacific Asia Museum, Pasadena, 2010; 53rd Venice Biennale: East West Divan: Contemporary Art from Iran, Afghanistan and Pakistan, Venice, 2009.
She points to history’s erasures, traces and ghostly images and encourages us to look, and then look again. Qureshi does not tell us what was once there but asks us to ditstinguish between what was and what remains.Hammad Nasar, 2005