Israa Shaikh

You grew up in Oman as the daughter of expats. How did this multicultural environment influence the way you see the world and create art?

Growing up at the crossroads of two starkly different yet harmonious cultures not only impacted my childhood, socioeconomic views, and livelihood, but also the way I created and made art at its core. Having studied ancient Indian art in school, I found that the techniques I learnt subtly bled into my work. And it wasn’t just my technique that was affected; the subject matter and issues I wished to portray through my art shifted monumentally as well. Suddenly, I wanted to touch on more social and emotional Issues through my paintings.

You describe discovering art as a child while spending a lot of time indoors. Do you still see art as a form of escape, or has its meaning changed for you over time?

Art came naturally to me. This was something I realised even as a child. With a brush in my hands, I was able to communicate through the canvas. Everything I hadn’t been able to put into words now lay before me in streaks of acrylic and watercolor. It was cathartic, in a way. Art understood me. And for the first time, I was able to say exactly what was on my mind. And I fell in love with it.

Your works often feel very emotional and atmospheric. What emotions do you usually try to express through your paintings?

I am a firm believer that beauty is in the eye of the beholder, especially when it comes to art. What you feel when you look at my work is what is being conveyed. Every interpretation is accurate. My art is about you. And what you feel is valid regardless of what I intended. Even If my piece is trying to convey a specific idea, the perspective that the viewer has with that artwork is personal in my eyes. And that’s what makes art precious as a visual language.

You work with different media and techniques. What attracts you to experimenting rather than staying within one artistic style or medium?

I love broadening my horizons and exploring all possible opportunities. I seek novelty and creative ways to use art techniques across mediums. For example, exploring watercolor made me understand the subtleties of working practically with color theory. That, in turn, vastly improved my digital work. If I had limited myself to a singular medium, my art would not be as good as it is today.

Several of your works combine darkness with glowing or luminous elements. What does this contrast between shadow and light mean to you?

I wanted to highlight that tug of war between two opposing poles. Ying and Yang, Light and dark, water and fire- It exists everywhere. In nature, in laws of physics, and even in ourselves- our morality, faith, and essence. Good and evil, saint and sin, life and death. Light in my work is a medium through which I convey juxtapositions or polarity between ideals or values. I also use it to draw emphasis on the subject.

Some of your works have a dreamlike, almost cinematic quality. Are you inspired by dreams, memories, films, literature, or personal experiences?

I would say everyone is a culmination of everything they’ve ever consumed, interacted with, or been exposed to. The same is true for me. If I had watched different films or read different books, my art wouldn’t look how it does. I am particularly fond of film and literature, and it has definitely played a part in influencing my work and how I present my ideas visually.

You mention the idea of finding your “magnum opus” – one piece that can connect hearts. What kind of connection do you hope to create between your artwork and the viewer?

One that is entirely personal between the viewer and the piece. I want to create a piece that when the viewer looks at it, they are able to connect to it, relate to it, feel it, and experience it in a way that’s unique to them. A piece that connects hearts and ties everyone together. To remind us that humans, at our core, despite all the differences, war, and bloodshed, share something in common. A heart.