Mohsin is a visual artist based in Islamabad, Pakistan, specializing in miniature painting. His work is marked by a distinctive focus on crows that overpower figures and portraits, creating an eerie yet captivating atmosphere.
notes on exploration, confusion, and progress
In my recent practice, I had to separate myself from this question that was stopping me from working — that everything should have meaning in my practice.
What does your studio routine look like these days?
Currently I’ve been occupied with other stuff except working on paintings. Nowadays, I am not working on my paintings but I am working on some other creative projects aswell. Although I am taking a break from my paintings and my personal practice, I spend the majority of my time in the studio.
Has confusion played a role in how you’ve been exploring your work recently, and if so, how?
In my work, I always feel like I have to explore more and express what I can’t say out loud. And like this, with each painting, some burden gets unloaded. And then confusion remains regarding whether I was able to express everything in this piece, or whether there are still remaining layers that need to be uncovered. Then I start new with the hope that some new layers will be uncovered in this piece.
Do you feel the search for meaning in your work can be helpful, and at what point would you consider it to be limiting?
Honestly speaking, sometimes I feel like my work is much deeper than what I perceive from it, or from what I am saying in my words or statements. And I am in search of that meaning in my work.
Which I hope I never find.
How do you try to stay true to yourself and your practice amid constantly shifting market expectations?
When you start relying on your paintings completely, especially financially, then you have to bend a bit more towards the market expectations to earn and survive. In my case, it’s been a little different since firstly, a selected portion of the market admired my work which gave me a lot of confidence. And secondly, I am not completely dependent on the income of my paintings, which also has some cons.
At what point did you begin separating what you personally believe about art from what you were taught?
In my recent practice, I had to separate myself from this question that was stopping me from working — that everything should have meaning in my practice.
Since graduating in 2023, do you notice any gaps between your formal art education and the realities of the market? How are you navigating those gaps?
Yes, there is a lot of gap…..
The art market is quite different from what we learn in our formal art education. In formal education, art has multiple forms. It would be so much more than just a painting but in the art market, especially in ours, art is that which can be framed. Or as I say sell-able art.
Is there a piece you’ve made that you keep returning to, and each time learn something new from?
Yeah, there are few of my works in my practice which have given rise to new series and started a whole new conversation. One of those is “Vicious circle” from my thesis and from which my recent series evolved from.
What are you still unlearning as an artist?
That “every element in your artwork should have a proper meaning.” Which I believe is not true.
If the artist knows the meaning of every element and they can express that in words then what the point of making an art is. And after formal education this is now embedded in my mind that I always ask myself; what is the meaning of this, or that color. So I am trying to unlearn that thing.
